BIO/CV
Tania Candiani lives and works in Mexico City. One of the central interests of her work is the expanded idea of translation, extended to the experimental field through the use of visual, sound, textual and symbolical languages. Many of her projects consider the universe of sound and the politics of listening as a tool capable of expanding and transforming perceptions, both human and non-human. A fundamental part of her work is related to feminist policies and practices, understanding them as a communal, affective and ritual experience. Her production usually involves interdisciplinary working groups in various fields, consolidating intersections between art, literature, music, architecture, science, and labor, with an emphasis on ancestral knowledge and techniques, technologies, and their history in the production of knowledge. She is a member of the National System of Art Creators of Mexico; a former recipient of the Guggenheim Fellowship in the Arts, the Smithsonian Institution Research Grant for Artists; Artist-in-residence at the Arts at CERN program, in Geneva, Switzerland. In 2015 she represented Mexico at the 56th Venice Biennale. Her work has been exhibited internationally in museums, institutions and independent spaces, and is part of important public and private collections.
PUBLICATIONS
Catalog of the individual exhibition by Tania Candiani Los ojos bajo la sombra, held within the framework of the XI Lanzarote Biennial, which starts from the production of the grana cochineal and its historical relationship with the Canary Islands. The title comes from a text from the beginning of the 20th century that narrates the work of Canarian women workers in the fields and the value of this raw material at the time. Called in the Nahuatl language nocheztli (blood of tunas). The literal presence of the pigment in this piece and in the catalogue, evoke commercial exchange since colonial times and the dispossession of the territory.
With texts by Virginia Roy and Adonay Bermúdez
The catalog of the exhibition Tania Candiani. Like the trace, it sound, curated by Virginia Roy, presents a selection of her recent works that underscore how Tania Candiani operates from the complex intersection of phonic, graphic, linguistic, symbolic, and technological language systems. Her production has shaped an intense network of codifications and discursive and material associations between art, literature, history, science, architecture, nature, music and sound; and she proposes an expanded notion of the idea of translation as a process and as a transdisciplinary tool to decode information in diverse narratives and materialities.
With texts by Virginia Roy, Cuauhtémoc Medina, Brandon LaBelle and Jessica Berlanga.
Five Variations of Phonic Circumstances and a Pause is an exhibition focused on processes and artifacts that promote phonic circumstances, elevated these, towards intensities of linguistics, sonority and spelling. The phonetic quality is exposed to “variations” that can be understood as acts of mediation associated with specific instruments and technologies. With essays by Karla Jasso, Tania Aedo, Jorge Reynoso Pohlenz, Pedro Soler and Manuel de Landa, and a conversation between Candiani and Jasso.
Habita Intervenido was a temporary occupation of the facade of the Hotel Habita that had much of conquest, of territorial invasion. The action itself, graffiti and tagging, as well as the image that is produced, are the starting points to reflect on the chameleonic condition of the city, the architecture itself, the contradictions of the urban image and the possibilities of the public
Possessing Nature is a setting where the viewer is invited to take a journey through the historical drifts of modernity; due to those drifts whose beginning, if it has one, should be placed at the point where nature appears as an object that can be appropriated by man and where technique becomes the medium and mode of production from which work and life are alienated. life.
Red page books tell stories of trees seen in the dark, short lives, and other hidden stories. Red bites into a strawberry. Now imagine falling from the branches of a tree, as in that old story? The fruit is the consolation before an end. Reddened meat asks a lot of questions. Too hot? Too much pressure and effort? Too much fury when touching the other meat?