Tania Candiani, Mexico City, 1974.
With an extensive experience in Mexico and internationally, Tania Candiani’s work has been developed in various media and practices that maintain an interest in the complex intersection between language systems —phonic, graphic, linguistic, symbolic and technological. In her work there is a nostalgia for the obsolete that seeks to make explicit the discursive contents of artifacts and textual materials. Thus, through the exploration of elements such as sound, words, diagrams or machines, the artist recreates unique translations that enhance the possibilities of language, generating different combinations of meaning and expression.
In recent years, she has made interdisciplinary collaborations to combine various contributions in the fields of knowledge and research, consolidating in this way intersections between art, design, architecture and science. Candiani emphasizes her interest in aiming to the poetic encounter between these areas. In this way, her work has consisted on developing large-scale projects where she explores the possibilities of technology, different investigations related to time and sound, as well as mechanisms connected to narration. The artist’s thoughts about the technical and scientific, relationship between humans and technologies, and the history behind them for the production of new knowledge, materialize on her works.
Among her exhibitions stand out: Ascensión Cautiva, Museo del Chopo, Mexico City (2018); Language as Sound, Laznia Centre for Contemporary Arts, Gdansk, Poland (2018); Mundos Alternos: Art and Science Fiction of the Americas, University of California, Riverside, Pacific Standard Time, United States (2017); No Such Thing As Gravity, National Museum of Fine Arts, Taiwan (2017); Codes, Sounds, Signs, National Centre for Contemporary Art, Nizhni Nogorov, Russia (2016); Cromática, Museo de Arte de Sinaloa, Mexico (2017), Ex Convento del Carmen, Mexico (2016) and Museo de Arte Contemporáneo de Oaxaca, Mexico (2015); 4th Triennial Poli/gráfica de San Juan, América Latina y el Caribe, Museo de Ponce, Puerto Rico (2015); La gravedad de los asuntos, Laboratorio Arte Alameda, Mexico (2015); La Magdalena y otros estudios de campo, Museo de la Ciudad de Querétaro, Mexico (2014) and Casa del Lago, Mexico (2013); Cinco Variaciones de Circunstancias Fónicas y Una Pausa, Kiblix, Eslovenia (2014) and Laboratorio de Arte Alameda, Mexico (2012); The Future of Fashion is Now, Museum Boijmans Van Beuningen, Netherlands (2014); Serendipia, Centro Museo Vasco de Arte Contemporáneo, Spain (2013); Prix Ars Electronica. CyberArts Exhibition, OÖ Kulturquartier, Austria (2013); Sonorama: Del Hi-Fi al Mp3, Museo Universitario del Chopo, Mexico (2013); Mnemografías, Museo Nacional de la Estampa, Mexico (2012); XI Bienal de Cuenca, Museo de Arte Moderno, Ecuador (2011); Vivienda social y autoconstrucción, Museo de Arte Moderno, Mexico (2011); Espectrografías. Memorias e Historia, Museo Universitario de Arte Contemporáneo, Mexico (2010); Textile 09. Textile Biennial, Lithuania (2009); XI Cairo Biennial, Palace of Arts, Egipt (2008); Transactions: Contemporary Latin American Art, Museum of Contemporary Art, San Diego, United States (2006); Tijuana Sessions, Alcalá 31, Spain (2005); IX Salón Bancomer, Museo de Arte Moderno, Mexico (2004); Cerca Series: Tania Candiani at MCA, Museum of Contemporary Art, San Diego, United States (2002); Bienal Internacional de Estandartes, Centro Cultural Tijuana, Mexico (2001); IV Bienal de Monterrey, Museo de Monterrey, Mexico (2000).
Tania Candiani has been granted for the National System of Art Creators, Mexico (2012-2014) and (2017-2019). She has been awarded by: Guggenheim Fellowship Award, United States (2011); Fonoteca Nacional. Residencia de Producción, Mexico (2012); Distinction Award from Prix Ars Electronica Hybrid Arts, Austria (2013); Flora Ars+Natura. Residency, Colombia (2013); Production Residency. Artium, Spain (2013); Artist in Residence. LAZNIA II, Gdansk, Poland (2014); Artist in Residence Glennfiddich, Scotland (2014), among others.
In 2015 she represented Mexico at the 56th Venice Biennale with the piece Possessing Nature, a project in collaboration with Luis Felipe Ortega and curated by Karla Jasso.
Recently, she received the Smithsonian Artist Research Fellowship Award for research in the archives of the Lemelson Center for the Study of Invention and Innovation and the Dibner Library of the History of Science and Technology, both part of the Smithsonian Institution.