“My artistic practice develops within and around the relationship between the west and the un-western, an intimate as well as a historical relation that lead to my involuntary migration from Bolivia.

In my work I’m particularly interested in how coloniality lives and sets the premise for the development of globalism, capitalism, immigration. 
 
Working with contemporary art in Bolivia calls for an experimental approach to how to practice and there is an aspect of necessary adaptability and resistance in exploring different disciplines as well as audience and form. This has lead my practice to include installation, painting, sound, video, text production, activism and performance, and I’m continuously questioning what I consider a part of my practice, who the practice is for and where it is shown.

It is reoccurring themes and interests that bind the various production together as the works circles the seemingly inseparable relationship between the personal and intimate to the political and historical.

Among recent projects is an investigation of the phenomena that was European cannibal films from the 70s-80s and looking into how global immigration and world politics shaped and continues to shape Norwegian rap scene.
” 





Recent/Upcoming Exhibitions/events:

   1. TBA
       
Brown Tears, Brown Sweat and Brown Blood.

   2. Spriten Kunsthall 28.01.22
       The Current is Strong and Un-Western.

    3.Telemark Kunstsenter 24.02.22
       I Wish You Would Call Me More Often.


List of links:

Portfolio+CV 
Instagram
Soundcloud
E-mail
 
















Mark


Green Infernos: Takes a På visningsstedet INDIOS ONLY i Oslo, i Vicente MOLLESTADs utstilling From the Norwegian Entheomycological Society’s Collection, står det en glasstekanne på en metallhylle med en lett gyllenfarget væske. Dette verket, The Effluents of Deity (2021), utløser en fortelling fra vertskapet på Caravan om hvordan husdyr og mennesker i slavebånd, i udefinerte gamle dager, ble brukt som levende «filter» for å skille ut ønskede stoffer fra psykoaktive sopp. Målet skal ha vært å bevare de psykedeliske effektene, men s de mindre ettertraktede følgene ble dempet.



På visningsstedet DEATHRACE, i Vic Vega sin utstilling From the Norwegian Entheomycological Society’s Collection, står det en glasstekanne på en metallhylle med en lett gyllenfarget væske. Dette verket, The Effluents of Deity (2021), utløser en fortelling fra vertskapet på Caravan om hvordan husdyr og mennesker i slavebånd, i udefinerte gamle dager, ble brukt som levende «filter» for å skille ut ønskede stoffer fra psykoaktive sopp. Målet skal ha vært å bevare de psykedeliske effektene, mens de mindre ettertraktede følgene ble dempet.




På visningsstedet DEATHRACE, i Vic Vega sin utstilling From the Norwegian Entheomycological Society’s Collection, står det en glasstekanne på en metallhylle med en lett gyllenfarget væske. Dette verket, The Effluents of Deity (2021), utløser en fortelling fra vertskapet på Caravan om hvordan husdyr og mennesker i slavebånd, i udefinerte


Mark