Felipe Mujica

Santiago de Chile, 1974

Lives and works in New York, united States

BIOGRAPHY

Mujica was born in 1974 in Santiago de Chile, and since 2000 he lives in New York, united States. He studied Bachelor of Arts majoring in Printmaking at the Pontifical Catholic University of Chile.

For 2021, is preparing his first solo exhibition building in the united States, to be held at Pérez Art Museum Miami (PAMM).

Among other of his solo exhibitions include: “There is light in every window (VI)”, Die Ecke Contemporary Art (Barcelona, ES, 2020); “Early sunrises on Earth”, a trade UNION (Las Terrenas, OJ, 2019); “All Tomorrow's Parties”, Galerie von Bartha (Basel, CH, 2019); “We are more united to the invisible the invisible”, the Museum of Modern art of Medellín (Medellín, CO, 2018); “Shadows imaginary, come by the road imaginary”, Casa Triângulo, São Paulo, BR, 2017); “Above and branches that same wind moves”, Museo Experimental El Eco (D. F., MX, 2014); “A bridge is a man crossing a bridge”, Galerie Christinger De Mayo (Zürich, CH, 2012); and “Eyes of a blue dog”, Galeria Nuno Centeno (Porto, PT, 2012).

His group exhibitions include: “Great south”, Chilean Contemporary Art in the Collection Engel (Madrid, ES, 2020); “we were Never contemporaries”, XIII Bienal Femsa (Zacatecas, ME, 2018); “Shout Fire!”, Röda Sten Konsthall (Gothenburg, SE, 2018); “the Uncertainty viva”, the 32nd Bienal de São Paulo (São Paulo, BR, 2017); “Embodied Absence: Chilean Art of the 1970s Now”, Harvard University (Massachusetts, USA, 2016), “a Nest or atom, lo, the star”, in Die Ecke Arte Contemporáneo (Santiago, CL, 2015); “Ways of Working: The Incidental Object”, Fondazione Merz (Turin, IT, 2013); “Thinking and Speaking”, Galerie Nordenhake (Stockholm, 2013), “Critical Complicity”, Kunsthalle Exnergasse, Vienna, AUT, 2010) and “3rd Guangzhou Triennial”, Guangdong Art Museum (Guangdong, CH, 2008).

Has won the contest FONDART (CL) four times and the contest DIRAC (CL) on six occasions. In 2020 you receive the first Scholarship Foundation Current MAVI (CL),

in 2012, the DIVA (Danish International Visiting Artists Programme) (DIN). He has participated in residencies in Solentiname (NIC), Cap (BR) and Or Gallery in Vancouver (CA), Gasworks in London (UK) and was awarded the Pollock-Krasner Foundation (USA) 2002.

Her works are part of collections such as the National Council of Culture and the Arts of the Government of Chile (Santiago, CL), MAC (Santiago, CL), MAVI (Santiago, CL), Foundation Engel (Santiago, CL), Phoenix Art Museum (Arizona, USA), The Space Collection (California, USA), Aspen Art Collection (Zürich, CH), collection by Iguatemi (São Paulo, BR) and private as a Christian Nagel (Köln-Berlin, DE), Von Bartha Collection (Basel, CH), Barbara Kapusta (Vienna, AT), Klaus Nelund (Copenhagen, DK), Katherine E. Bash (London, UK), Alexander Zaya (New York, USA), Ricardo Alcaide (São Paulo, BR), Paola Santoscoy (DF, MX), Livia Benavides (Lima, PE), Samy Benmayor (Santiago, CL), among others.

My work has grown from visual codes related to geometric abstraction, where the economic mechanisms of the production of images are simultaneously a set of historical references and a set of creation tools.

Equally important in my training has been the practice of collaboration as we are constantly entwinement my work with the other through the organization of exhibitions, group projects, publications, and so on. An example of this could be the facilities that I have produced with panels of fabric, with the purpose of be drawings that occupy the space and also shades that function as organizers of space, such as walls, temporary channel the circulation of the public, and the perception of space, as well as the perception of other works in the space. In this sense, these facilities are equally an object of contemplation and a functional object; they become part of the museography and flexible architecture temporary. Can be used by other artists and curators. These fabric panels are also direct reference to avant-garde movements such as Russian constructivism and the Bauhaus school, as they try to recover and reinterpret the ideal modernist democratization of the art object. In ideal situations can change their position in space, because are suspended from a stainless steel wire that crosses the exhibition hall; then they work as “curtain” that can be moved from one side to the other.

Another body of work consists in the production of drawings and engravings of references from the fifties until the mid-seventies, as a political posters of Latin america, psychedelic images, graphic design and japanese covers of publications of science fiction or mathematics. What unites these images is that they all share the historical context of 1969. They also share a language universal graph. The appropriation of these images pre-existing has as its objective the investigation of their social status and symbolic and cultural references that possibly share. This body of work independent works as a counterpart historical, contextual and formal of the work space and geometric, confronting in any way the avant-garde neo-avant-garde.

Also I produce sculptures, or better said, actions sculptural, since they are temporary constructions and fragile they don't last after the exposure (or that are made only to be photographed). This project was born as a tribute and critique of the history of modernism in Latin america. Equally independent of european modernism and radical in its relationship with social movements, the Latin american modernism is far from consolidated. My sculptures are intended to reflect the ideals of modernist and simultaneously highlight the fragility of these ideals. This project is also productively open because the sculptures can be made by me or commissioners, curators, museum staff, or other artists, which adds another layer of participation and co-authorship of the project. When the sculptures are produced by other people I'm asking you to register. I have also used this project in workshops for children, opening up possibilities in the field of teaching. An early example of this practice is multi-faceted could be the creation of the space Gallery Chilena, which was operated without a physical space in Santiago (1997-2000) as an effort nomadic and commercial. The “gallery” is set herself the challenge of creating a market of critical art to the art scene of the post-dictatorship in Chile.

When you call “curtains” to your pieces of fabric, Mujica called the attention on the domesticity of their production; cut, folded, sewn, and sometimes hand-embroidered, the artist is based on techniques that are closest to home to the academy of art. Without being overtly political, She describes the works as "humble acts of resistance", related to his interest in geometric abstraction and their statements for both formal and socio-political.

Felipe Mujica. Retrato beca Fundación ACTUAL, 2022.

STATEMENT

Felipe Mujica. 32a Bienal de Sao Paulo, 2016.

Nutrition of visual codes related to geometric abstraction is one of the central axes of the work of Felipe Mujica. Modernism and its ideals, the perception of the space and the cultural context of the 70’ are the themes you explore in a variety of formats.

 

The productive process, is constructed with the generation of the links, by using a collaborative and social, linking his work with the other through the organization of exhibitions, projects, publications, among others.

 

From facilities with panels, fabric, drawing, prints and sculptures ephemeral, the chilean artist explores the artistic avant-garde movements as Russian constructivism, the Bauhaus school and modernism in Latin america, among other topics, with the aim of investigating the social status and symbolic place in different cultural contexts.

Por pintar la libertad de colores

 

2007

 

Vinilo autoadhesivo sobre metal

Ellos ya habían aprendido que todo lo que sueñan puede existir

 

2018

 

Vista general, XIII bienal FEMSA

Untitled (for Newcastle)

 

2013

 

Installation

Estudios para obra en tierra enlozada

 

2009

 

Pintura.

Hear Toney Alamo, Chinese Ad, Triangle of Hope

 

2007

 

Tríptico, grafito y acrílico sobre papel

The Swaying Motion on the Bank of the River Falls

 

2022

 

Vista general exposición en Perez Art Museum Miami

Línea de hormigas (Chile) 8

 

2011

 

Fotografía, impresión digital

Trenes que vuelan de un planeta a otro, samuráis que luchan en un pasado inmutable

 

2018

 

Vista general galería Gabriela Mistral

When a Dog Meets Another Dog

 

1997

 

Vista general, galeria  Christian Nagel Köln

PROJECT

Curtains

 

It is titled the project can be linked to the sculpture textile with which She has gone from the dialogue space to include the mobile character of the surfaces, or vertical planes making them move within the precincts exhibition, following the geometry virtual architecture, printing its lines and causing a change in the organized space for the own curtains according to the established schedule.
On the other hand, has included a symbolic value in the project on the approach to the world of the artisan tradition in the making, making contact with communities and involucrándolas in the production, which will put their stamp depending on the place where it is exposed to.

Las universidades desconocidas. 32a Bienal de Sao Paulo, 2016.

Cortina 9. Primeros amaneceres en la tierra (Zacatecas)

 

2019

 

Installation

Untitled

 

2013

 

Installation

Las universidades desconocidas (design xx)

 

2016

 

Instalación bienal de Sao Paulo

Shadows imaginary (curtain 2)

 

2017

 

Installation

Shadows imaginary (curtain 4)

 

2017

 

Installation

Shadows imaginary (curtain 1)

 

2017

 

Installation

Ellos ya habían aprendido que todo lo que sueñan puede existir. (cortina 4)

 

2018

 

Installation

Shadows imaginary (curtain 2)

 

2017

 

Installation

Arriba como ramas que un mismo viento mueve (cortina 1)

 

2014

 

Installation

PROJECT

SERIGRAPHS

 

In parallel, the graphic production, always present in the body of work of Mujica, we see it reflected in a broad spectrum, from the editorial production of catalogues to the preparation of drawings and it is here where it appears another project, as old as the curtains, linked to the production of silkscreens with the character of-a-kind work which in its representation dealing with the iconography psychedelic projections in both Latin american and north american accent in the theme of op art and kinetic art.

There is ligth in Every Window IV, Von Bartha S-Canhf, 2017.

Japanese Optical and Geometrical Art

 

2017

 

Serigrafía sobre papel

How to speak Psychedelic – Barrido purpura

 

2017

 

Serigrafía sobre papel

 

 

Teaching the black experience

 

2018

 

Serigrafía sobre papel

Japanese Optical an Geometrical Art

 

2017

 

Serigrafía sobre papel

For a Peaceful use of Nuclear Energy (1956)

 

2011

 

Serigrafía sobre papel

Extrapolasis (Quadruple Print)

 

2012

 

Serigrafía sobre papel

Eye psychedelic

 

2010

 

Screen printing

 

 

Teaching the Black Experience

 

2019

 

Serigrafía sobre papel

Escuela de verano, 1968

 

2009

 

Serigrafía sobre papel

EXHIBITS IN THE GALLERY

Felipe Mujica 18 web 1

Hay luz en cada ventana (VIII)

9 de November al 7 de January de 2022
Headquarters Santiago

Captura de pantalla 2020 02 19 a las 16.41.46

There is light in every window

21 de February al 2 de April de 2020
Headquarters Barcelona

invi cortinas

Curtains

10 de October al 13 de October de 2019
Headquarters Barcelona

1 Invitacion 9 scaled

Nest or atom. Behold the star

4 de September al 10 de October de 2015
Headquarters Santiago

arquitectura y amistad

Architecture and Friendship

4 de October al 9 de November de 2013
Headquarters Santiago

felipe mujica 2010

There is light in every window

14 de July al 14 de August de 2010
Headquarters Santiago

die ecke barcelona colectiva 2010

Collective Die Ecke 2010

1 de February al 31 de March de 2010
Headquarters Barcelona

fm no state 2007 567 01

No State Exhibition

14 de June al 13 de July de 2007
Headquarters Santiago

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