https://www.danielarivera.com/work1 daily 1.0 2025-11-12 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434496553471-Q9H1VY9LN84JBNBVG80D/rivera_small+pattern+holebin+design.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434495978997-ZMPH682U5PX13Y27OFZ1/rugo2.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434495978988-N6WZNGE10DP8A4L7CDKO/rugo3.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434497276349-XVQO95M6DNB9CYMV9CWJ/3_drivera_accidental+memlig+gul.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434497276109-CNSQ82OYB90KU9A26RUK/04_Accidental+Memling+or+oriental+rug+image+2+drivera.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434497280906-GG90W5ZZVBOJA7NGPSCA/4_rivera_accidental+memlig+gul_detail.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434497276640-DTZH448TKEFEJXTNKTGW/09-Accidental+Memling+or+oriental+rug.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434497348083-RZ1Q6VXOHRPPPJIBKMY3/18+rivera_Accidental+Memling+Gul+detail.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434497277305-QKFZY6MZW4OG934H96AN/10-Accidental+Memling+or+oriental+rug.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498024865-ENCUBEE4ECZASVMXKOML/accidental+sky+%231.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498128067-GW1CDADE2DE4D6AFKPR9/accidental+%2310.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498175671-LDMM3OX3RKRHMFL92USH/accidental+sky+%2311.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498015666-L9QWE4IDOHTR7J1KUZA7/accidental+sky+%2320.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498035841-SUZTGIK71PK81C98QOHE/accidnetal+sky+%232.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498128256-1NYVJ2O2UY3BHXE2J7KA/accidental+sky+%235.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498153974-U06TXQQTG3T8HS6XSK3Y/accidental+%2320_1.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498157338-DPKX5ZR40XBN8HWOXTPM/accidental+sky+%234.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498164616-0EHO1Z5CI8DPX30S5SAT/accidental+sky+%236.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498165192-LHA495MOYZ8830QTSZK0/accidental+sky+%237.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498165828-665SLME29IOPFU1KT2LK/accidental+sky+%238.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498166481-R63VVFQZGK3GWSKTER7O/accidental+sky+%239.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498167301-JOOW25TTANJEII0089YP/accidental+sky+%2310_second+version.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434498898108-D7TXBLFMZG928V017CM3/Fatiga+Material+nap.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496885724415-B8IWEP2Q585WUBR3N9CB/12_Rivera_Fatiga_Material.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434519844420-28Y5AXK6PUJICVBMSJH0/Walking+A-Long-17.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434519852071-3U124Q7L97ZQQZB5Z74R/Walking+A-Long-28.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434519837319-HABQ3NG9PFD70G0KQZZP/Walking+A-Long-10.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434519838613-WPNP3K75DA40ZU2G77R0/Walking+A-Long-13.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434519850334-B45QJ1XV4HQOXE2XUS1S/Walking+A-Long-25.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434519855338-Q2UXKLRV9M5HO4SLK58W/Walking+A-Long.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434521470377-YZHDKG0EXJY98ON17PNT/Rivera_Growth+detail+for+NAP+copy.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434521469470-VZB7K4XREL7YRZYA5CB3/grass+detail+for+chaco.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496885648078-1N7V8T3EX14P0PG7NVIJ/06_Rivera_Growth-detail.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434595759050-1OD5J0YAUZ5JR31E24LV/15.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434595758915-X1POE0KVTEGH2LE727WG/14.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434595759046-61XVA92S3HTMM0JQTPBE/41.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434595759126-8623S679NBJ2CT340NW8/42.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434595982475-CSDF62JWD86UH0MM42JC/in+case%231.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434595982695-4OXVJX389FCHE9X78C1P/in+case%232.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597012892-MF68JYSSVT1WLWMKQ7QK/_MG_0017.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597004785-MZ8DVMFVMITYKIRJ5RE7/_MG_0015.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597029416-EUUYPX5VK667EOFFQCIJ/_MG_0027.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597086252-R3H4PUN32Y6EVPYPRG5L/_MG_0048.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597044781-FWJ4JFWQ8UHD85SZNTN7/_MG_0032.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597061627-QQSOS59TGKMCWVJOGZJK/_MG_0034.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597061735-Y9PDM67MK0VZRI8T1YHN/_MG_0035.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597077933-RQY7AHFOLNCED27LSQ9U/_MG_0038.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597546445-0P9DSN7HWOONDVXRIIRP/photowall+.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597041322-T37HGSSU67UVYU9Q0EW7/_MG_0030.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597762125-LFPAOD9HNT42P8WFDRMN/rivoli+brick+3.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597727747-U3Q920Y7F4RC6BS6CCQ4/rivoli+interior1.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597987314-KXNNCSK8Y1V648J0A0VJ/rivoli.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496885937839-UIX1K6ZOHHMSLG7CB4NE/11_Rivera_Muros+copy.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496886312393-RA0CO7J3J5PPW4UA7ULZ/Rivera22.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597998749-CXBLQWOOM1LEGM2WR415/wallsign%233.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597770439-UVCVAFW37O78XSCVFEOF/Tate+Modern+Fire+alarm.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434597888709-9JB46IP78ZD29A2KD33B/wall1.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434598050029-M00SPTFAOZAHJEF8SHSA/wall1reina+sofia+detail.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496885918269-5APVRTCLP19R7YZTYLUB/Rivera_Muros_esquina.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496886049250-JSR93BVAYI9T5Z98BO1S/16_Rivera_Muros.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496422159014-ZGWVHRQEENVEBBFFBCNT/MFA+_TiltedWall_Drawing07.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496435561367-7GMMZNROSGZBXLJWWC5Q/MFA+_TiltedWall_Drawing04.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496422063165-GZFOWXAPB2OHV4D7IBEL/MFA+_TiltedWall_Drawing05.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496887321178-DVHFO43XDY6DAZ833WW4/MFA+_Drawing05.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640291694-7ZPAVX09R8L0DKCNB25E/drawings+for+walking+a-Long+1.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640291655-CUE8KJV6NBNGPXXMPNXA/foldingskyproportfolio.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640294311-SH2OX0WCZW6Z4PP0JWHG/mesas+portfolio.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640294372-RW0IALLATFT8GCYAKV9R/parquedrawingweb.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640297112-I2NNA5X10I03R2NHEHUB/rigdrawing.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640297300-FTA6AG7CC2H024IQMFKY/segundo+suelo+1.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640299217-8DBJF6LKXTIUL9QCUF70/tilesdrawing.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434640299704-L6IKQ3KGXVDGZ742QAY4/untitled+%28+project+drawing%29_007.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496888171428-M15UXOTQ5NM6SGN8HFVT/MFA+_TiltedWall_Drawing09.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434641238597-45YNPWTZN8XMT0TDDIG6/tilted+gallery+inside+view+nap.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434641249451-3DP1JYIJZB1MQ09HJDT2/tilted+gallery+inside_2nap.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434641415962-HDMMIVQ50DTATT35S1BO/sideroomsummer.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434641401090-0NAC3YZWQGSCBM6NBF9M/DSCF1213.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1434641424039-RYJ92AZ6VPFNF2VD2FVE/melsta+copy.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496886848616-J0AF4BNANVNWYNOJEB1X/Tilted+Heritage_lateral+view.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496421414300-HYEPPT1NSY0IWFZU8PRU/01_Rivera_Tilted_Heritage.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496421415841-DJM089FRZLTVBVB54N1U/02_Rivera_Tilted_Heritage.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496421526387-5WUOPU3V1JJL6EXP7Z9F/03_Rivera_Tilted_Heritage.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496425504362-9KGLYM2OOUZN721SLO41/04_Rivera_Shooting_Skies+.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496425504732-DQKYLUUO153UXT40CGRW/05-Rivera_Shooting_Skies+.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496425513402-0M4EZ0RCSX0ZV12ELETY/06_Rivera_Shooting_Skies.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496425702453-30CW43M1J3W4GWZ3THV3/Rivera_Shooting_Skies+video.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034555959-JPLZK1BDN9X6Y1GG7PHF/5_Encoutering+table_2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034554587-KSKNZOSWVMR79EZ7YBX1/4_Encountering+table_3.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034560774-7K21NBNCG8IN3XTKVYU3/6_encoutnering+table_5.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034564331-66BYO5TWU5SJEAO4MMUS/7_karoke_1.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034568016-0GLV6SG8WEKKY2T7D08Q/8_karoke_2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034635245-SLR3WOALHUDLSOBXHIYO/21_groupPhoto_3.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034633451-ELZNKO36RQK0D7MH1HTH/20_daniela%26jeff_2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034474839-4BZ8OTJ41MXMCTNPV02F/1_daniela%26jeff.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034547756-1LB7ZDQQ1J45I7W8RMI7/2_grouTable.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034547866-V1CZ0LPAP3DK3V7UQA64/3_Jeff.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034628126-KEZE8ENONI9JFQP9A137/19_daniela.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034626592-B1UCATZ4AYH0QKUYE6VF/18_groupPhoto_2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034581498-VI8GTIAW0Y2XCSLRCJP8/10_printDetail_1.png Work Detail, ink print on paper https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034595792-2VJFJULGCVI4CZTT884I/12_printDetail_3.png Work Detail, ink print on paper https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034598093-TVI134348CM53N7SMHLQ/13_printDetail_4.png Work Detail, ink print on paper https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034610869-6CC7RPJFMKT8CGW3YCM0/14_printDetail_5.png Work Detail, ink print on paper https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034611543-A88W0C8Y1FZ24UNE3RQX/15_printDetail_6.png Work Detail, ink print on paper https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034582188-TXRZ1PPDTB0ROX060A0J/11_printDetail_2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683637758780-QVKQ7QCBT5G498E9VRTD/TobeEdited2EDITED.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683637758864-YOVC2Q5LKBE51QOXDQY0/TobeEditedEDITED.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683637780642-ADRJOLOZOIV9LDE8H2W2/Table_1.2+EDITED.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683035380543-349GDU6TQ9O26JF00CAM/32_fullPrint_7.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034672790-Q3MLJ49B06BZWCBO8JDW/29_fullPrint_4.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034676291-2QRMYK28W5DAI4CHR27H/30_fullPrint_5.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034641709-TSFKCA335LE8ZGNZVAAD/23_print_1.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034648453-76TY4I8QYEYD0WD5K2B0/24_daniela_2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1683034641555-39XDP1IPIMM6W58KKKOD/22_daniela%26jeff_3.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228308331-1DNKY8LKNNIJT7TEPY5A/cesar17.png Work - César Gabler https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228463105-49ZQ2MFPO1PKQMFMIYZ2/Claudia3.png Work - Claudia del Fierro https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1747834181282-JRM7SFF8O7RVW3MAWKR7/constanzaAlarcon+%281%29.jpg Work - Constanza Alarcón Tennen https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228560044-WVVW7KF7RETI4K1NV70O/Cristobal6.png Work - Cristobal Cea https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228274882-XVVESAV9YTE2L6LGNM1N/Pulido_Gerardo_Set%237_2022_watercoloronpaper_9%2C05x11%2C8.png Work - Gerardo Pulido https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1747834667503-MII7BUS3XF9IKGOGMUXR/GS-W-8.jpg Work - Gisella Scotta https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1747834280735-4IJ35NSXHNI9HABZJSSB/The_perception_of_distance_02_charcoal_on_paper_127%C3%97200cm_GuillermoMENA_2020.jpg Work - Guillermo Mena https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228375753-VJAJQD2037RO1QHT7VFU/Javier+Bustos+Campanario+Periferico%231+V000.png Work - Javier Bustos https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228421757-YIV8D9CAW8WY3GOXNW3A/maria2.jpg Work - Maria Veronica San Martin https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1747834246813-6KX8GE750KOH3668N90V/DialogosExtran%CC%83os.jpg Work - Mariano Goto https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1747834307055-OF9X1DI2BHYL6KCQPENS/NF+obras-11.jpg Work - Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749241948900-3HCS2WLB5PMPFSRNILZ8/EXIT2.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749241832621-F4TL5UR7GBKKMM6BQTEY/Trust5.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496417768154-JR9JG7P59VHOI8ADBG7F/IMG_3339.JPG Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496417930819-D7CR9UUV6P1PFZV8LYOY/Fatiga%2BMaterial%2Bnap.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496418191136-8ZURZIUG7LUHX7PLGJJB/accidental%2Bsky%2B%231.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496419085334-888EVUAVSWMP6IIBO7QS/Walking%2BA-Long-25.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496419707767-QSVD2AEZAJ5O7W6VICZQ/image44.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496420461762-GZ84EQFQRX7IR7YBMNVX/image83.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496420604233-RP51N9JTV68HSOBP7HR8/tilted%2Bgallery%2Binside_2nap.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496420797458-7WE5B3INF959TBGM639F/image29.jpeg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496420880654-RY69ZIQRGU9B33ZWVWTS/MFA+_TiltedWall_Drawing09.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496421284373-JGDE20MG4HPO6ICMM1FO/02_Rivera_Tilted_Heritage.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496426097948-GIGEGGRGKW9Z1RE3EM44/07_Rivera_Shooting_Skies.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496885293722-A31KABQX7NXGXNCI1LE2/image96.jpeg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496886545324-5UTJ5QIR99BDD0AWS1F9/o3+rivera_Small+Pattern+Holbein+Design+detail.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497293369085-4XD5GYN651VO8DE5JR7A/accidental%2Bsky%2B%231_Edit.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497294976390-F9A4UR9ZJ4ZSLYNM3KRD/o3+rivera_Small+Pattern+Holbein+Design+detail.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497295773745-D01NX5MG2QYWQQO8TKEU/growth_edit2.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497304220012-WHSL4EEUYX7UQOV0FIW5/image96.jpeg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497304877671-FNL0EDO6R8XDHQNJO506/image83.jpg Work https://static1.squarespace.com/static/54db9ab6e4b007a652a23d7e/t/60522ceb5569dc5abba26eb7/1502375431472/ Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1637369420325-VYE4XAX6DW8AE62SJEZJ/_MG_4667-1+copy.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496955398662-CAJ12KPZ480FLJR5E1W1/Walking%2BA-Long-17.jpg Work Walking a-Long, 2009 Exhibition: Foster Gallery at Noble and Greenough School, Dedham, MA. This painting installation is simultaneously an homage to and commentary on the 1969 piece A Line Made by Walking by artist Richard Long. The work also includes the largescale installation Broken-Line that was also created for the space. This exhibition was the first stage of an on-going project. Richard Long’s A Line Made by Walking exposed the origins of different bodily and temporal practices within art disciplines. The performative aspect of drawing, printmaking, painting, and sculpture, were recorded by the photographic documentation of Richard Long’s repetitive walk. A Line Made by Walking addresses time and space as creative tools in the making of the artwork. My first encounter with Long’s piece came many years ago when I was an art student. In addition to my excitement about how smart and poetic the piece was, I wondered about my position as its viewer. Authorship appeared exclusively reserved to the author as I, a viewer, was left completely outside the piece’s resolution. Was the written documentation of the performance enough of a participatory action to allow for physical presence to be part of the constitution of the piece? Some of these questions opened up the possibility of exploring this piece through a completely discarded mode for the materialization of ideas in Land Art as well as art in the post-studio era. I decided to make a comment on Long’s A Line Made by Walking through painting and simulation. In Walking a-Long I attempted to materialize these questions, explore possible solutions, and use some humor in my response to Richard Long’s A Line Made by Walking. The piece involved the creation of ninety-nine 2’x 2’ oil paintings that covered an extended area of the gallery floor and accumulated as towers in some areas. Each of the paintings was a straightforward representation of grass painted in an obsessive, labor-intensive manner. Some of them accumulated in small towers, groupings that exposed the constructive process of the images and their material quality, as well as showcased in a more evident manner the labor involved in the production of the pieces through a sort of survey on painting’s mark-making devices. In the show, visitors were invited to walk the straight line that separated the main sections of the piece bringing it into completion with their presence and action. After this first manifestation of Walking a-Long, I kept creating more grass paintings without knowing exactly where the piece was headed. Something about the viral quality of the piece in relation to its labor intensive and obsessive nature proved extremely seductive. The notion of landscape and its artificiality appeared as a core element in the development of Walking a-Long’s extension, Growth. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1579658120830-NNU5B3JK7K9OK16JW39O/CStern_128FAM8833_web.jpg Work - Tilted Heritage Installed in Labored Landscapes (where hand meets ground), a solo exhibition at the Fitchburg Art Museum, September 21, 2019—January 12, 2020. Ash on canvas, stretcher bars, rope, C clamps, wall drawings 17'x10'x10' Based on a fire that destroyed a significant part of one of the most iconic coastal cities in Chile, Tilted Heritage is an attempt to link contemporary politics to the history of colonization and its repercussions on identity, cannibalization of culture, and subversion of meaning. Installation view. Photograph: Charles Sternaimolo https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1579660410434-F0HU8AEH1NT125VC33EE/CStern_206FAM8887_web.jpg Work - White Noise Installed in Labored Landscapes (where hand meets ground), a solo exhibition at the Fitchburg Art Museum, September 21, 2019—January 12, 2020. Installation view. Photograph: Charles Sternaimolo https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1616069034237-P0GA88Y37EBPJ6VKZC1Y/06.jpg Work - STOP STOP was exhibited at LaMontagne Gallery in Boston from October 30, 2020 to December 1, 2020. As we collectively grapple with the consequences of the COVID-19 pandemic, STOP is a candid reflection of the moment - an invitation to pause, be silent, to think, observe and process our vastly transformed reality. Since March and the beginning of the lockdown, artist Daniela Rivera has produced and accumulated drawings, notes and marks made during countless virtual meetings. These gathered fragments, arranged into layered and multifaceted drawings, have served as a way to process a new way of connecting with others, expose our collective vulnerabilities, and re-assess our ideas of societal progress and free will. The show explores and brings new possibilities of meaning to a familiar sign and concept - a stop sign - in an attempt to re-signify what it means for everything to move towards a stopping point. STOP is an opportunity for building pause with others, to create pause for observation and reflection while leaving a trace of one’s own presence in the gallery space. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1571711405174-H6I6BV7SZ2NU6TW967XI/_MG_0989_A.jpg Work - Sobremesa (Karaoke Politics) A public art project installed at 48 Geneva Ave. in the Grove Hall neighborhood of Boston, Massachusetts, from September 8 - October 26, 2019. Sobremesa (Karaoke Politics) is a public art project by artist Daniela Rivera that was installed in an empty outdoor lot in the Grove Hall neighborhood of Boston, Massachusetts. The word and concept of sobremesa refers to a Pan-Hispanic cultural practice that was brought to the Americas by Spanish colonizers. During sobremesa, plates and leftovers as well as conversations and memories begin to literally and figuratively accumulate on top (sobre) of the dinner table (mesa). Drawing on communal practices that challenge expectations, the project invited the local community and public to step onto a stage of connected tables and use it as a platform for public discourse, performances (including an organized karaoke event), gatherings and leisure. The platform was constructed of multiple repurposed tales which were reinforced by a supporting structure and made accessible by stairs and a ramp. With variations in color and size, each table top become a territory within a larger map, and the bodies of the occupants traversed these symbolic boundaries both physically and through their shared experience. Sobremesa (Karaoke Politics) thus created an open space for public vulnerability, expression and equity, while standing in recognition of the great value that lies in difference. The project included an opening karaoke event open to all, and a closing that included a sound event in collaboration with the Calico Art Collective, composer and sound artist Jenny Olivia Johnson, and featured a Taiko drumming and spoken word performance by Older & Bolder under the direction of Karen Young, as well as karaoke performances and line dancing. The project was generously supported by the Now + There Public Art Accelerator, with in-kind support from The Trust For Public Land. It also included collaborations with community partners including The Grove Hall Branch of the Public Library, the BCYF Grove Hall Community and Senior Center, the Jeremiah Burke High School, the Mother Caroline Academy & Education Center, and local businesses located in proximity of the site. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1571718082419-6DWZ91IAN093BCTFGLTM/SoapWall%2BTitle_print+for+wall_A.jpg Work - Without Trace / Sin Evidencia Without Trace/ Sin Evidencia establishes a dialogue between the political history of my home country, Chile, with personal histories of trauma, and the formal strategies of male dominated Western art movements. The wall is constructed with bars of Zote soap. Zote is a Mexican brand of soap used for hand washing laundry. It is especially used for delicate pieces of clothing and washing hands due to its neutral and hypoallergenic qualities. This soap wall covers the extent of a gallery wall, camouflaging at first as part of the architecture, but little by little revealing itself due to its scent and materiality. I hope the experience of this piece immediately recalls spaces of intimacy and vulnerability, centering the understanding of the work in memory and the body. Without Trace / Sin Evidencia, has been in the drawing board since the abuses to human rights during the military dictatorship (1973 to 1990) were finally disclosed in Chile. When Chile was transitioning out of the dictatorship, the new agreed upon president, Patricio Aylwin, dictated a supreme decree that created the National Commission for Truth and Reconciliation. The mission of this commission was to established a complete and clear picture on the serious human rights violations, gather information that would allow the identification of the victims, investigate their fate, and location. The commission was also tasked with recommending reparation measurements and/ or vindication, while also advising on legal and administrative resolutions that would prevent new abuses of power and human right violations in the future. In 1992 the National Commission for Reparation and Reconciliation was formed as a result of the investigation. I was able to read part of the Rettig Report in 2002, as I was arriving in Boston, and the idea of building a wall of soap to link institutional abuses of power to abuses and violence occurring in the domestic space appeared as a material way of dealing with these experiences. I also linked this wall of soap to the cleansing act perpetrated by victimizers and the erasure of traces of violence. The soap referred to moments of complete vulnerability and intimacy, and the act of washing of dirt and traces of previous events. Today the figure of the wall indicates much more, and each bar of soap points out not only to the victims and victimizers but also our blindness, complicity and silence. Zote Ingridients: The ingredients aresodium tallowate (animal fat), sodium cocoate, Citronella oil (fragrance), glycerin and optical brightener. Without Trace / Sin Evidencia was installed at the Kniznick Gallery between Sunday 7 July and Monday 8 July, 2019. The piece had a short life in the space because the citronella fragrance bothered and affected people working in the space. The removal of the piece, though disheartening, completed the piece adding new layers of meaning and solidifying its presence. The political and discursive environment we are experiencing today asks for embracing discomfort and sacrifice to make a point. The new traces that point to the absence of Without Trace / Sin Evidencia on display today, point more strongly to the willing blindness we practice every day towards abuses that occur outside of our comfortable individual freedom. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1558114288025-LPH8K0LGZFO8UG5MI81S/Rivera_4_Fragmentos+para+una+historia+del+olvido.jpg Work - Fragmentos para una historia del olvido/ Fragments for a history of displacement (2018-19) Exhibited in the lobby of the Davis Museum, Wellesley College Fragments for the History of Displacement is based on the recounted experience of 13 Latin American immigrants to the United States of America, each arriving in the US as an adult. The entry doors are installed in the lobby of the museum, leaning against the windows and blocking the outside view. Each door has a peephole fitted with double convex lenses, turning each vista upside down. The viewers can hear each immigrant’s stories and memories from earbuds installed at the narrator’s ear height in the doors. The piece explores the iterative experience of loss, its unutterable quality, and its active irresolution, and draws attention to this relentless and exhausting experience. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1558547902109-HLN4MQM83NIJ6VADVXBS/boxes_b5.jpg Work - Boxes (2015 - ) https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496953270118-670CT8H2Z5HCT3MNBM6H/04_Rivera_Shooting_Skies+.jpg Work 2015 Five 5’x5’ oil on wood paintings, 44 caliber bullet holes, 12’ x25’ bullet screen This piece focuses on trauma, its unpredictability, its lack of context, and its aggressively transformative power. Previously to this piece I worked on a series of paintings titled Accidental Skies. I would splash or drop different liquids over carefully prepared and painted surfaces. My intention was to introduce chance over the deliberate and to abandon total control over the outcome and final product. The accident happened in relation to the image without any warning, not allowing it to anticipate or adjust to the changes that came with this aggressive attack. The encounter with the reality of the physicality of the painting appeared as a perfect allegory for psychological trauma. All artifice or illusion proposed by the image collapses when confronted with the spill of liquid sitting on top of the surface, destroying any allusion to space or three-dimensionality. Furthering this idea, Shooting Skies was a commentary on the seductive and traumatic aspects of violence. By inserting the work into the discursive space of gun policies and politics in America. The accident this time was the deliberate but not controlled shooting of the carefully painted night skies. Sadly, this project is always relevant. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496953658523-BACHZ0A5MWOE1T3UBXK0/11_Rivera_Fatiga_Material.jpg Work Fatiga Material, 2011 Exhibition: Site-specific painting installation at the Boston Center for the Arts, Boston, MA I was invited by curator Liz Munsell to participate in “Close Distance,” a show that took place at the Mills Gallery in Boston. The group showcased the work of Latin American artists working in the Boston area. From the beginning of the project, we ran into the impossibility of finding a common voice and a unifying image. Fatiga Material (Material Fatigue) was a site-specific installation occupying half of the main gallery that attempted to comment on exhibition politics and the proliferation and abuse of cultural images taken out of context. My goal for this work was to turn the exhibition space into an images of the ruin of itself. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497305605582-QMIMOQR25UG05AS1TWQN/tilted%2Bgallery%2Binside_2nap.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497306825939-XIS9JPJKPG0ED0BO1VIN/melsta%2Bcopy.jpg Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497307779996-BVOKK6NEFUJF43CIR2LM/15.jpg Work In-case (Homecoming), 2008 / Exhibition: Neiman Gallery, Columbia University, New York, NY This work was my contribution to the collaborative exhibition “Lost in Your Eyes” at Columbia University’s Neiman Gallery. The show was organized by Paul Pfeiffer, who invited a group of 35 international artists to produce work around the subject of the Balangiga Bells. As a second stage, the project traveled to London in 2010 and was supposed to travel to the Philippines (but has not yet done so). My participation in this project was made possible thanks to a Wellesley College General Grant for Scholarly Activities. In-case (Homecoming) was my reaction piece to the Balangiga Bells and their history. Today the three Balangiga Bells are in the possession of the U.S. military. The Bells were captured as war trophies by the U.S. troops after the bombardment of Balangiga and the burning of its church during the Philippine-American War. The massacre of Balangiga occurred on September 29, 1901, as a response to an organized attack by part of Balangiga residents at the time. After this tragic event, the Bells became and are still today, symbols of independence and determination for the people of the small town of Balangiga and the country as a whole. Two of them reside in the Memorial Park of Warren Air Base in Wyoming and the others with the Ninth Infantry in South Korea. Since 1901, the Philippines has requested the return of the bells to the U.S. government. And even though during the Clinton administration there was an intention of returning them, the Balngiga Bells are still in possession of the U.S. Military. The project involved the construction of shipping crates and bronze point drawings. After learning about the history of these objects and their journey, I decided to build custom made shipping crates for each of the Bells. Based on the information available about their physical appearance, I commissioned the construction of these containers to a company specialized in shipping art objects and antiques. The shipping crates were made so that they could resist at least five trips and could be reopened and closed at least five times. My intention was to provide the shipping containers for the other works in the exhibition as the project moved from New York to London and finally to the Philippines. The bells, embodied in the pieces of all the artists in the show, would then make their symbolic journey back to Balangiga. After its New York debut in November 2008, the show opened in London in April 2010. Sadly there are no immediate plans to have it travel to the Philippines. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1497307469732-L045LCYTUVNICP1TYZVD/MFA%2B_TiltedWall_Drawing09.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1654379356652-JWKMS2JB5E43OGPUJML1/_MG_5070-1.jpg Work just a drawing (line/trace/mark/bug) https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1579664580168-BG2BWYKZR4NAYMAHFP3Q/CStern_235FAM9074_web.jpg Work - Where the Sky Touches the Earth (Donde el Cielo Toca la Tierra) Installed in Labored Landscapes (where the hand meets the ground), a solo exhibition at the Fitchburg Art Museum, September 21, 2019—January 12, 2020. Painting installation. Oil on canvas 2020 Each painting is 12x30 feet covering the entire walls of the exhibition space. I interviewed former inhabitants of Chuquicamata (a mining town in the north of Chile) after their relocation in 2008 due to environmental devastation and mine expansion. These more than 20 interviews were documented in the video as I was thinking of creating a video piece. After trying the video pieces in exhibition spaces, I realized that the intimacy and weight of the experiences were not honored by the exhibition dispositive and decided to change the project completely. I turned the bodies and the gestures attempting to describe the place they used to call home into landscapes themselves for viewers to inhabit. I discovered that language was not descriptive enough of the potency of their lived experience and that the memory of the place was carried and bettered described in the body. Body was location. Photograph: Charles Sternaimolo https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1610578498961-PWPN42IXWJ0NUMUKRS0T/IMG_8451_copy.jpg Work - En Busca de los Andes / In Search of the Andes 2019 Copper point drawing on the wall, drawing on paper, photographic material, windshield, sound Dimensions variable In Search of the Andes is an interactive site-specific installation that attempts to give physical presence to questions that are part of the (im)migration experience. How is the loss of referents that enable the triggering of biographical memories experienced? How does this loss affect the preservation or the construction of identity? How do you survive a loss that is not possible to locate and that dismembers identity? How does the loss of the familiar and the possibility of making a landscape invisible affect stability? https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695649465364-5RLMFZU73QYMWAQYBYRE/1_daniela%26jeff.png Work - 50 Years of Sobremesa I was invited to be the 2023 visiting artist at the Hartford Art School Print Workshop after it had been canceled since 2019 due to the pandemic. The Print Workshop has been running since 1978 and has hosted artists including Sylvia Plimack Mangold, Susan Rothenberg, Helen Frankenthaler, and Ed Ruscha, among others. The print shop includes a lecture and the creation of an edition of prints. This is one of the students’ most beloved events of the year and a great opportunity for the community to observe and/ or participate in an artistic project closely. As somebody that has done print making as part of my artistic formation but not incorporated printmaking much in my practice, I was both very excited and honored by the invitation but also terrified. I asked to visit the school and the print shop in advanced of my scheduled visit in order to familiarized myself with the space and explore the possibility of developing a project that was responsive to the space or its material history. That is how this project took its form. It became an intrinsically collaborative project that brought together multiple generations of students, technicians, professors, and instructors. In the back of the print studio there where two large wooden tables that showed on its surfaces the traces of multiple printing process. Scot Maccluggage thoughtful artist and Printshop monitor right knew the history of these tables and had developed many prints on their surfaces as a student of the school. The tables were built by Professor Thomas Bradley around 1973 for the print studio to provide extended surfaces for the students to work on their print making projects. Learning that these tables had been at the school for five decades and recognizing the traces on its surfaces as marks left by the many artists from over decades that unknowingly had prepared the “plates” for this project made the decision of printing the tables an easy one. It was important to me that the current generation of students and faculty could add traces or mark the surfaces in some way before thinking of the tables as ready to print plates. For this we organized a series of events that brought us all to use the tables one last time before printing them. We had Karaoke sessions on top and around table 1, we had a dinner and a sobremesa conversation around table 1 and 2, and we created a transiting print on top of table 2. After these social gatherings we closed the activities on the tables and commence the printing process. We were able to print 2 large scale prints of each table, each measuring ten feet by 6 feet and 56 people participated in the project, helping to print, singing on top of the tables, and gathering for extended conversation. The last day of my five-day residence at the print shop I printed 56 fragments of table 1 all done at a 1’to1” scale of the table to leave with the 56 collaborators. Two of these prints stayed at Hartford Art School as part of their print collection. Special thanks to Profesor Kasey Ramirez and Scot Maccluggage for the invitation to participate in this beautiful program, their advice, and selfish collaboration through this project. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1701113078811-SJQR84H5VCBXE2SXV2IQ/IMG_3313.JPG Work Fresco on found wood with nails 8” x 5” x 1.5” https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1653158952706-T7EKAIZ65HVHRM8J4JTE/She+never+kicked+the+ball+%281+bounce%29+back+%281%29.jpg Work - She Never Kicked the Ball In Chuquicamata women found a way to get visibility and access to political representation. They played the system and got to be recognized as the female branch of the Cobreloa soccer team. They never kicked the ball. Visibility brought the possibility of presenting candidates for the largest labor union in the country. Later Mirta Moreno was elected as the president of the Copper workers labor union, the largest in the country, representing over 4000 workers in the mining industry. Photos by Fari Eshraghi https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1701571312745-YYV2AFB0EZB6GWMD6HKU/Casita1a.png Work Sitio de Nadie is a collaboration with Caleb Duarte that involves social practice, fresco painting, performance and video. The concrete structure is put together using mass produced construction materials and resurfaced with Teotihuacan fresco painting technique. The image generated on the concrete structure is that of a house. The structure is then moved by groups of people to different sites ending its journey by the ocean looking to cross it to return home. The people moving the structure were migrant workers. The negotiations, the effort, the commitment and the engagement of our collaborators in the move of the structure gave meaning to our labor. 14” x 4” x 6” 2023 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1717766985502-1F1IV89DB87TZV0C93QM/SFAC_Praxis-2467.jpg Work Tilted Paradigm, 2023 San Francisco Art Commission Fresco and copper leaf on cement board and wooden frame and copper point drawing on wall. 5'8" x 5' x 5'8" During the 2019 social explosion in Chile, an iconic monument in the center of Santiago was constantly defaced, recontextualizing it according to the social demands of that day. Rather than taking the whole structure down, the monument was removed but the pedestal and mausoleum for an anonymous soldier was left intact and continuously activated by art actions. The idea of altering the reading of a monument or its support triggered the creation of Tilted Paradigm, a tilted pedestal that sinks through floor and wall to create and tilt the icon of a house. The project brings together in one body, mass-produced materials with hand crafted, millenary, and slow traditions that point to the migration of culture, capitalism and labor. There are earbuds embedded in the fresco walls that when approached whisper narratives of migration. Photo credit: San Francisco Art Commission https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1703174411364-FN875FQZMN96BMZ07UOH/bucekt2.png Work - It Happened In a Bucket In this exhibition, Deep Time at the Drive-By Projects Gallery, I repurposed urban detritus found in national parks and resurfaced them with Teotihuacan fresco-like painting technique to create “urban fossils.” These objects were paired with frescoes encased in 5 gallon buckets, a portable representation of migrating culture and the collapse of time. Photography by Fari Eshragi https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1747836162724-SRJZSSFPH4RBS6B26VJZ/DECTLT10.jpg Work Donde el Cielo Toca la Tierra/ Where the Sky Touches the Earth (2024) Based on narratives of migrant workers, this exhibition consists of my paintings Donde el Cielo Toca la Tierra, a site-specific adobe installation with an interactive sound piece and a revised series of photography. The project is an invitation to be part of an experience that brings together an expansion of the idea of landscape with life stories, identity, migration, and territory. The project was finalized in late April 2024 at Matucana 100 in Santiago, Chile with a performance by Chilean Baritone, Sebastian Muirhead, a sound performance by Argentinian artist Javier Bustos, and the narratives of migrant labor related to the copper mining industry in Chile collected by me. Image Credit: Benjamin Matte https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/3ac055cb-305c-4dba-ba8f-b1925a045b9f/SFAC_Praxis-2473.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749241832621-F4TL5UR7GBKKMM6BQTEY/Trust5.png Work https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1762964252098-7B1361PKQV80XHO436DV/TiltedParadigm2c.jpg Work - Tilted Paradigm #2 Wood structure, adobe, earbuds, mirror, sound "10/ 25/ 2019 (full day) The Largest March in Chile" from the sound archives of Galeria CIMA (Santiago, Chile) of the 2019-2020 Chilean protest movement known as the Estallido Social, and sound from symphony orchestra tuning. 96 in x 84 in x 84 in MassArt Art Museum May-November 2025 During the 2019 social explosion in Chile an iconic monument in the center of Santiago was constantly defaced, re-contextualizing it according to the social demands of that day. Rather than taking the whole structure down, the monument was removed but the pedestal and mausoleum for an anonymous soldier was left intact and continuously activated by art actions. The idea of altering the reading of a monument or its support triggered the creation of Tilted Paradigm, a tilted pedestal that sinks through floor and wall while creating at the same time the inversion of the image of a house. The quincha and adobe construction relate colonial construction and indigenous processes. The cracks on the surface of the adobe are filled with copper, the main industry in the country and one that is deeply linked to its political history. Earbuds embedded on the adobe surface reproduce the archival sound of the first 24 hours of the social explosion and the tuning of a symphonic orchestra. https://www.danielarivera.com/news daily 0.75 2022-12-30 https://www.danielarivera.com/news/2022/6/4/vermont-studio-center-announces-visiting-artist-daniela-rivera monthly 0.5 2022-12-30 https://www.danielarivera.com/news/2020/1/31/daniela-rivera-labored-landscapes-where-hand-meets-ground-at-the-fitchburg-art-museum monthly 0.5 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1580503434402-UA5RMLGZPTI6YRQI59CS/Daniela+Rivera_FAM_Catalogue_Cover.jpg News - Daniela Rivera: Labored Landscapes (where hand meets ground) on view at the Fitchburg Art Museum https://www.danielarivera.com/news/2019/10/26/join-us-for-the-closing-event-of-sobremesa-saturday-october-26th-200-530-pm monthly 0.5 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1572105802720-KINW9KR05N8HUT4M8S7P/Sobremesa+Closing+Postcard_Stacked.jpg News - Join us for the closing event of Sobremesa on Saturday, October 26, 2:00 - 5:30 pm https://www.danielarivera.com/news/2019/8/30/sobremesa-karaoke-politics-press-release monthly 0.5 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1567175173853-Y6NMYNXG7QJULZVRVJW6/A7204553_press+release+image.jpg News - Sobremesa (Karaoke Politics) - Press Release Maquette for Sobremesa (Karaoke Politics) / Photograph: Natalia Leginowicz https://www.danielarivera.com/news/2019/11/19/announcements-daniela-rivera-wins-rappaport-prize monthly 0.5 2022-12-30 https://www.danielarivera.com/news/karaokesong monthly 0.5 2022-12-30 https://www.danielarivera.com/news/2019/8/2/sobremesa-karaoke-politics-opening-karaoke-event monthly 0.5 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1564767079620-UTMNBZ7G2SR7JJIYMHGM/Sobremesa_Postcard_Image_A.jpg News - Sobremesa (Karaoke Politics) - Opening Karaoke Event! https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1564767089984-XNSX92COHU2G0GFCORXV/Sobremesa_Postcard_Image_B.jpg News - Sobremesa (Karaoke Politics) - Opening Karaoke Event! https://www.danielarivera.com/news/sobremesa monthly 0.5 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1563811699548-8X00GBF8J61AVO03YJWO/sobremesa+colored+sketch_1.jpg News - New Project: Sobremesa (Karaoke Politics) Drawing of concept design for Sobremesa (Karaoke Politics). Daniela Rivera, 2019. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1563817547395-Q3NAR43SFBJ2JRGRHBC6/IMG_0934_blog+version_1.jpg News - New Project: Sobremesa (Karaoke Politics) Drawing of concept design for Sobremesa (Karaoke Politics). Daniela Rivera, 2019. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1563826623548-E8R0M15D3LO6D4KJC1HE/Daniela+Rivera_IMG_4011_blog_1.jpg News - New Project: Sobremesa (Karaoke Politics) Installation maquette for the Sobremesa (Karaoke Politics) project. Daniela Rivera, 2019. https://www.danielarivera.com/news/tag/Sobremesa monthly 0.5 https://www.danielarivera.com/press daily 0.75 2024-04-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1567179523985-2A85AS5VV4K2BBWNNK5T/sobremesa+colored+sketch_1.jpg Press https://www.danielarivera.com/press/2024/4/30/artishock-where-the-sky-touches-the-earth monthly 0.5 2024-04-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/f0ad7a07-948e-4830-bf0a-7a62e6f65826/Screen+Shot+2024-04-30+at+9.30.05+AM.png Press - Daniela Rivera: Where the Sky Touches the Earth - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.danielarivera.com/press/2023/7/13/re-cuento-no-1-conversaciones-sobre-arte-en-la-mediana-carrera monthly 0.5 2023-07-13 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/ff2ed601-ec92-47d6-86b1-36ebb5af2e48/Screen+Shot+2023-07-13+at+3.25.12+PM.png Press - Fundación Actual Re Cuento No 1: Conversaciones Sobre Arte en la Mediana Carrera https://www.danielarivera.com/press/2022/6/4/lead-in-modern-and-contemporary-art-sharon-hecker-anthology-editor-silvia-bottinelli-anthology-editor monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2021/3/23/watch-voca-talk-daniela-rivera monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2021/3/23/catalogue-for-labored-landscapes-where-hand-meets-ground-at-fitchburg-art-museum monthly 0.5 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1616602011603-XKUJO8CT3B30AE4GQRGK/Screen+Shot+2021-03-23+at+3.23.44+PM.png Press - Catalogue for Labored Landscapes (where hand meets ground) at Fitchburg Art Museum https://www.danielarivera.com/press/2020/1/23/an-interview-with-daniela-rivera-in-the-boston-art-review monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2020/1/31/labored-landcapes-where-hand-meets-ground-exhibition-at-the-fitchburg-art-museum-reviewed-in-the-boston-globe monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2020/1/31/daniela-rivera-speaks-about-her-work-on-wgbhs-open-studio monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2020/1/23/daniela-rivera-featured-in-an-article-in-tuftsnow monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2021/3/23/wbur-the-artery-press-for-labored-landscapes-where-hand-meets-ground-exhibition monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2021/3/24/now-there-sobremesa-karaoke-politics monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2021/3/24/fitchburg-art-museum-daniela-rivera-labored-landscapes-where-hand-meets-ground monthly 0.5 2022-12-30 https://www.danielarivera.com/press/2021/3/24/the-museum-of-fine-arts-boston-daniela-rivera-the-andes-inverted monthly 0.5 2022-12-30 https://www.danielarivera.com/exit daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648652702-CFFNCC7SV0BD74565YO4/EXIT2.png Exit Signs is a fresco series that decontextualized words in an attempt to give them a different weight. Many of the words used for this signs are central to my practice. Each fresco sign will be photographed outside the studio in new contexts and places making us think critically about each word in our lives. The photos are collaged and overlapped together and then photographed again. EXIT is the first of this series. It was photographed in a once militarized land and now national park, Marine Headlands. 16” x 30” 2023 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648652702-CFFNCC7SV0BD74565YO4/EXIT2.png Exit Signs is a fresco series that decontextualized words in an attempt to give them a different weight. Many of the words used for this signs are central to my practice. Each fresco sign will be photographed outside the studio in new contexts and places making us think critically about each word in our lives. The photos are collaged and overlapped together and then photographed again. EXIT is the first of this series. It was photographed in a once militarized land and now national park, Marine Headlands. 16” x 30” 2023 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648652718-5Q2POWKR5UTUTFN9JVRD/Exit1.png Exit https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648657820-8QJFX6HL0EV4OYD0DI7Q/EXIT6.png Exit https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648655110-MPOIZNE2K4F1CRLS3R3I/EXIT3.png Exit https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648655230-WPQQHF10Y0RCYJTFUDQA/EXIT4.png Exit https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648682126-BLX1THRM51P2WOS0Y287/EXIT7.png Exit https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648657865-6CCTCBRS557XKZ6RSSH2/EXIT5.png Exit https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1695648682135-NQS75CAPHVN60SDUJ86E/EXIT8.png Exit https://www.danielarivera.com/cesar-gabler daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228308331-1DNKY8LKNNIJT7TEPY5A/Nuevas_cesarGabler.jpg Cesar Gabler - César Gabler César Gabler is a visual artist, curator, critic, and writer. Gabler has been a regular contributor to La Panera since 2011 and has commented on the local art scene in his radio show Aire Fresco since 2021. He writes articles on visual arts and comics, as well as art criticism. He teaches at Finis Terrae University and offers courses on artistic creation and appreciation in his own studio. In 2015, Gabler created the television show; “Los Artistas No Saben Hablar” ("Artists Don’t Know How to Speak"): 24 episodes dedicated to art in Chile. Since 2020, he has hosted the program La Edad Media (en el arte) (“The Middle Ages [in Art]”), produced by Fundación Actual. In 2022, Gabler began co-hosting the audiovisual program Figura y Fondo (“Figure and Ground”) with Polo Ramírez on public television. Cesar Gabler has written essays and texts for artists including Angélica Echavarri, Leonardo Portus, Patricio Court, Rodrigo Salinas, Beatrice di Girolamo, Ximena Mandiola, Bruna Truffa, Ulrich Wells, Paula Dünner, Nicole Tijoux, Claudio Herrera, Jaime Vial, Catalina Vilches, Marcos Sánchez, Paula Dittborn, Magdalena Vial, Andrés Strahinga, Javiera Gómez, and Dominique Shwarzhaupt. He has curated projects for Galería Metales Pesados, Open Dark, and Centro Cultural Matucana 100. In 2018, Cesar Gabler was awarded the MAVI Fundación Actual fellowship for mid-career artists, which included a solo exhibition at the MAVI. Dos hombres XXXII (two men), 2025 Color pencil and acrylic pen on paper 11in x 15in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228308331-1DNKY8LKNNIJT7TEPY5A/Nuevas_cesarGabler.jpg Cesar Gabler - César Gabler César Gabler is a visual artist, curator, critic, and writer. Gabler has been a regular contributor to La Panera since 2011 and has commented on the local art scene in his radio show Aire Fresco since 2021. He writes articles on visual arts and comics, as well as art criticism. He teaches at Finis Terrae University and offers courses on artistic creation and appreciation in his own studio. In 2015, Gabler created the television show; “Los Artistas No Saben Hablar” ("Artists Don’t Know How to Speak"): 24 episodes dedicated to art in Chile. Since 2020, he has hosted the program La Edad Media (en el arte) (“The Middle Ages [in Art]”), produced by Fundación Actual. In 2022, Gabler began co-hosting the audiovisual program Figura y Fondo (“Figure and Ground”) with Polo Ramírez on public television. Cesar Gabler has written essays and texts for artists including Angélica Echavarri, Leonardo Portus, Patricio Court, Rodrigo Salinas, Beatrice di Girolamo, Ximena Mandiola, Bruna Truffa, Ulrich Wells, Paula Dünner, Nicole Tijoux, Claudio Herrera, Jaime Vial, Catalina Vilches, Marcos Sánchez, Paula Dittborn, Magdalena Vial, Andrés Strahinga, Javiera Gómez, and Dominique Shwarzhaupt. He has curated projects for Galería Metales Pesados, Open Dark, and Centro Cultural Matucana 100. In 2018, Cesar Gabler was awarded the MAVI Fundación Actual fellowship for mid-career artists, which included a solo exhibition at the MAVI. Dos hombres XXXII (two men), 2025 Color pencil and acrylic pen on paper 11in x 15in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228730976-PH00MRSNLJ7OY10YTDTR/cesar5.jpeg Cesar Gabler Dos hombres V (two men), 2025 color pencil and acrylic pen on paper 11in x 15in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228725402-HBMWYCL5UEW08WJ22QDE/cesar1.png Cesar Gabler Dos hombres XXX (two men), 2025 color pencil and acrylic pen on paper 11in x 15in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228733992-MO6CDY3QWVIF1BMGZASK/cesar9.jpeg Cesar Gabler Dos hombres XXXIII (two men), 2025 color pencil and acrylic pen on paper 11in x 15in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228734879-MQN8D0OQ6RPE7WVH63FR/cesar10.jpeg Cesar Gabler Dos hombres XXXIX (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228732819-0NT789DT9R6EOUP68SY0/cesar7.jpeg Cesar Gabler Dos hombres XL (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228730719-1956FNIIOY7W3RN4RVA9/cesar4.jpeg Cesar Gabler Dos hombres XLI (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228729388-T26E8NVY5BULBOFR5RQT/cesar2.png Cesar Gabler Dos hombres XLII (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228733710-865WC8RVNW5NRRGYQWS2/cesar8.jpeg Cesar Gabler Dos hombres XLIII (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228732548-5181ID80OS6QN9KPVLX4/cesar6.jpeg Cesar Gabler Dos hombres XLIV (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228729438-3ZL4JFUID8UT462OIZ8M/cesar3.png Cesar Gabler Dos hombres XLVI (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228725991-3F98E7A34GX864J4OO7O/Cesar.png Cesar Gabler Dos hombres XLVII (two men), 2025 color pencil and acrylic pen on paper 12in x 15.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228738422-BJWVOA48MZ5913TJ8AWC/cesar16.png Cesar Gabler Blind, 2025 Collage on paper 14.5in x 11in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228737509-2HGD6BE3D9VONXDA6AZ8/cesar15.png Cesar Gabler Lex/legs, 2025 Collage on paper 14.5in x 11in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228737401-CD6PEG7AMJHH7HY85484/cesar14.png Cesar Gabler The bride, 2025 Collage on paper 14.5in x 11in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228736215-LGL54NRANAZMN07HAIVX/cesar12.png Cesar Gabler The pide and the sword, 2025 Collage on paper 15in x 11in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228734923-SX2J62CTQ0FE4Z7E9OG7/cesar11.png Cesar Gabler Amerika, 2025 Collage on paper 15in x 11in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749228736314-51SBUP3JIWSEKIFG7VQD/cesar13.png Cesar Gabler Maps, 2025 Collage on paper 14.5in x 11in https://www.danielarivera.com/claudia-del-fierro daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230393627-632C83D6JJG7Z6OMH2KB/image-asset.png Claudia del Fierro - Claudia del Fierro Claudia del Fierro (Santiago, 1974) is a visual artist with a Bachelor of Arts, Master of Visual Arts from the University of Chile, Master of Fine Arts, Critical and Pedagogical Studies, from the Malmö Academy of Art, Lund University. She works in a variety of media, including video, photography, and installation. Her projects use observation, action, and performative practices to point out or reconstruct situations, through personal ethnographies. One of the interests that runs through her work is the relationship between a community and its environment. Del Fierro has obtained grants from Fondart (Chile) Konstnärsnämnden (Sweden) as well as numerous residencies in international spaces. She has participated in the IV Mercosur Biennial, VI Havana Biennial, XIII Media Arts Biennial, Chile as well as exhibitions in Europe and the Americas. Her works are found in the collections of the MAC, the Museum of Contemporary Art, Chile; the Ministry of Cultures, Arts and Heritage, Chile as well as in private collections in Europe and Latin America. The selection of four photographs is part of the series Tourist Snapshots, photographs taken between 1997 and 1999 in different locations in Santiago and the surrounding area. They record actions in which the artist is photographed, posing for the camera like a solitary urban tourist. The chosen locations reflect urban landmarks that reflect military culture, colonial history, the appropriation of icons from indigenous peoples, and the copying of European monuments. They reflect a Chile in transition and its historical references. The city as a field to be reinterpreted. Instantáneas de turista 1 (Bali Hai), 1997 Color print from 120 mm film photography Platine Fibre Rag 310 gsm 19in x 19in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230393627-632C83D6JJG7Z6OMH2KB/image-asset.png Claudia del Fierro - Claudia del Fierro Claudia del Fierro (Santiago, 1974) is a visual artist with a Bachelor of Arts, Master of Visual Arts from the University of Chile, Master of Fine Arts, Critical and Pedagogical Studies, from the Malmö Academy of Art, Lund University. She works in a variety of media, including video, photography, and installation. Her projects use observation, action, and performative practices to point out or reconstruct situations, through personal ethnographies. One of the interests that runs through her work is the relationship between a community and its environment. Del Fierro has obtained grants from Fondart (Chile) Konstnärsnämnden (Sweden) as well as numerous residencies in international spaces. She has participated in the IV Mercosur Biennial, VI Havana Biennial, XIII Media Arts Biennial, Chile as well as exhibitions in Europe and the Americas. Her works are found in the collections of the MAC, the Museum of Contemporary Art, Chile; the Ministry of Cultures, Arts and Heritage, Chile as well as in private collections in Europe and Latin America. The selection of four photographs is part of the series Tourist Snapshots, photographs taken between 1997 and 1999 in different locations in Santiago and the surrounding area. They record actions in which the artist is photographed, posing for the camera like a solitary urban tourist. The chosen locations reflect urban landmarks that reflect military culture, colonial history, the appropriation of icons from indigenous peoples, and the copying of European monuments. They reflect a Chile in transition and its historical references. The city as a field to be reinterpreted. Instantáneas de turista 1 (Bali Hai), 1997 Color print from 120 mm film photography Platine Fibre Rag 310 gsm 19in x 19in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230465658-5A3DYSDHQ18UFS1TVC5N/Claudia3.png Claudia del Fierro Instantáneas de turista 1 (Moai 1), 1997 Color print from 120 mm film photography Platine Fibre Rag 310 gsm 19in x 19in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230465523-SPSLOLAF6XTEA2E72L56/Claudia2.png Claudia del Fierro Instantáneas de turista 1 (Moai 2), 1997 Color print from 120 mm film photography Platine Fibre Rag 310 gsm 19in x 19in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230468544-3396NJ32HL5TBU1UTK2U/Claudia4.png Claudia del Fierro Instantáneas de turista 1 (Reloj 1), 1997 Color print from 120 mm film photography Platine Fibre Rag 310 gsm 19in x 19in https://www.danielarivera.com/constanza-alarcon daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230856533-01X2GF0VOZVIYF5LJUVZ/Constanza_ESC1_Tu%2Cyo%2CytodoelvientoentremedioIII_photocreditKelseyWhyte.jpeg Constanza Alarcón - Constanza Alarcón Tennen Constanza Alarcón Tennen (b. Santiago, 1986) is an artist from Chile working at the intersection of sound, sculpture, video, and performance. She is interested in transmaterial dialogues as ways of inhabiting an in-between space of materials and objects. In recent years, she has focused her practice in an integrated view on fiction and the possibilities of eroticism, and haptics, as lenses through which to see the world of both human and non-human entities. Alarcón received her BFA at Universidad Católica de Chile and her MFA in Sculpture at Yale University in 2015. Her work has been shown internationally at venues such as PS122 (NY), Patricia Ready Gallery (Santiago), The XIII New Media Biennial (Chile), Künstlerforum Bonn (Bonn), Atelierhaus Salzamt (Linz), the Kaohsiung Museum of Fine Arts, Taiwan, among others. She has participated in residencies such as The Vermont Studio Center (VT), Delfina Foundation (London), and B.A.S.E Tsonami (Valparaíso). Tu, yo, y todo el viento entremedio III (mudras de nazca), 2024 polytonal whistle for five mouths, stoneware, rope 19.5in x 21in x 14.75in $5,500 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230856533-01X2GF0VOZVIYF5LJUVZ/Constanza_ESC1_Tu%2Cyo%2CytodoelvientoentremedioIII_photocreditKelseyWhyte.jpeg Constanza Alarcón - Constanza Alarcón Tennen Constanza Alarcón Tennen (b. Santiago, 1986) is an artist from Chile working at the intersection of sound, sculpture, video, and performance. She is interested in transmaterial dialogues as ways of inhabiting an in-between space of materials and objects. In recent years, she has focused her practice in an integrated view on fiction and the possibilities of eroticism, and haptics, as lenses through which to see the world of both human and non-human entities. Alarcón received her BFA at Universidad Católica de Chile and her MFA in Sculpture at Yale University in 2015. Her work has been shown internationally at venues such as PS122 (NY), Patricia Ready Gallery (Santiago), The XIII New Media Biennial (Chile), Künstlerforum Bonn (Bonn), Atelierhaus Salzamt (Linz), the Kaohsiung Museum of Fine Arts, Taiwan, among others. She has participated in residencies such as The Vermont Studio Center (VT), Delfina Foundation (London), and B.A.S.E Tsonami (Valparaíso). Tu, yo, y todo el viento entremedio III (mudras de nazca), 2024 polytonal whistle for five mouths, stoneware, rope 19.5in x 21in x 14.75in $5,500 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231006216-LE6SEL8QIDZ7W2BW4HJJ/Constanza_ESC2_Tu%2Cyo%2CytodoelvientoentremedioII.jpeg Constanza Alarcón Tu, yo, y todo el viento entremedio II (mudras de nazca), 2023 polytonal whistle for two mouths, stoneware, rope 15.75in x 15.75in x 8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230951593-MUGQQZ7BL7DGH4G1LCRB/4constanza_Sudamericana_dibujo.png Constanza Alarcón Sudamericana (sketches of a performance), 2025 Ink on cotton paper 30in x 22.5in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230856427-C1WOIDNYFQ6BF1NYVK1C/Constanza_DIB12_Whistles2025_17%2C6x25%2C2cm_6%2C9x9%2C9+in.jpeg Constanza Alarcón Whistle, 2025 Ink on cotton paper 6.9 x 9.9 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230854018-W13F8QPTG802S3FCAMOJ/Constanza_DIB9_Whistles2025_17%2C6x25%2C2cm_6%2C9x9%2C9+in.jpeg Constanza Alarcón Whistles, 2025 Ink on cotton paper 6.9 x 9.9 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230854996-M94MSZ79UAP4HYA4DDJX/Constanza_DIB10_Whistle2025_17%2C5x24cm_6%2C8x9%2C4in.jpeg Constanza Alarcón Whistle, 2025 Ink on cotton paper 6.8 x 9.4 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230855248-LW2CASJBDLV11YPXMYO6/Constanza_DIB11_Whistle%2C2025_17%2C5x24cm_6%2C8x9%2C4in.jpeg Constanza Alarcón Whistle, 2025 Ink on cotton paper 6.8 x 9.4 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230851402-U3L6YGAPGNCCZ1JLVR4A/Constanza_DIB6_Untitled%28sketchesofaperformance%292025_16%2C5x12%2C5cm_6%2C5x4%2C9in.jpeg Constanza Alarcón Untitled (sketches of a performance), 2025 Ink on cotton paper 6.5 x 4.9 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230852687-8PY8XHPQH1NK0MLMRUVL/Constanza_DIB7_Untitled%28sketchesofaperformance%292025_16%2C5x12%2C5cm_6%2C5x4%2C9in.jpg.jpeg Constanza Alarcón Untitled (sketches of a performance), 2025 Ink on cotton paper 6.5 x 4.9 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230853307-URCQYTL8FYSFHFYQOSCX/Constanza_DIB8_Untitled%28sketchesofaperformance%292025_17%2C6x25%2C2cm_6%2C9x9%2C9in.jpeg Constanza Alarcón Untitled (sketches of a performance), 2025 Ink on cotton paper 9.9 × 6.9 in. https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230849608-X9EIGKP338YZE70J77D9/Constanza_DIB4_Untitled%28sketchesforaperformance%292023_15x20cm_5%2C9x7%2C9in.png Constanza Alarcón https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749230852057-UOS9VC17O6I2WNXCTSAA/Constanza_DIB5_Untitled%28sketchesofaperformance%292025_10%2C8x20%2C2cm_4%2C2x8in.png Constanza Alarcón Untitled (sketches of a performance), 2025 Ink on cotton paper 4.2in x 8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231493888-1XV5BC2NEU922W0LONLT/Constanza_DIB3_Untitled%28sketchesforaperformance%292023_12x12cm._4%2C7in.png Constanza Alarcón Untitled (sketches for a performance), 2023 Ink on cotton paper 4.7in x 4.7in https://www.danielarivera.com/cristobal-cea daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231811221-NL1T9YONQZL6FPSV7W6M/Cristobal6.png Cristobal Cea - Cristobal Cea Cristóbal Cea is a Chilean artist that works across a variety of mediums -from 3D animation to sculpture and drawing-, motivated by a need to materially fill in the gaps that separate us from complex historical events, which are often haunting, ideologically loaded, and are therefore abundant in human contradictions. His work has been part of group shows in spaces like Lunds Konsthall (Sweden), Alcalá 31 (Spain), National Museum of Fine Arts (Chile), Kunsthal Charlottenborg (Denmark), Boston Center for the Arts (USA), and several solo exhibitions at museums and galleries in Chile and elsewhere. He has been awarded the Fulbright Grant, the RISD Bridge Research Grant, the National Endowment for the Arts (Chile, 2010-2016-2019), the Museum of Visual Arts (MAVI) Contemporary Art Prize, CCU Art Prize, and several research and creation grants at Pontificia Universidad Católica de Chile and Tufts University: where he is currently teaching courses on Digital Media at the School of the Museum of Fine Arts. “I work around mediums, with undead archives whose presence is often unseen, but cannot be forgotten. My tool of choice -to mediate among these histories and to write my own-, is digital media: A technology of absence, that I use to thread a connection between my promiscuous interest in sculpture, painting and storytelling, in order to -hopefully-, create some meaningful presence.” Forma Carente de Contenido I - Gallina Feliz, 2025 Resins and wax 20in x 5in x 5in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231811221-NL1T9YONQZL6FPSV7W6M/Cristobal6.png Cristobal Cea - Cristobal Cea Cristóbal Cea is a Chilean artist that works across a variety of mediums -from 3D animation to sculpture and drawing-, motivated by a need to materially fill in the gaps that separate us from complex historical events, which are often haunting, ideologically loaded, and are therefore abundant in human contradictions. His work has been part of group shows in spaces like Lunds Konsthall (Sweden), Alcalá 31 (Spain), National Museum of Fine Arts (Chile), Kunsthal Charlottenborg (Denmark), Boston Center for the Arts (USA), and several solo exhibitions at museums and galleries in Chile and elsewhere. He has been awarded the Fulbright Grant, the RISD Bridge Research Grant, the National Endowment for the Arts (Chile, 2010-2016-2019), the Museum of Visual Arts (MAVI) Contemporary Art Prize, CCU Art Prize, and several research and creation grants at Pontificia Universidad Católica de Chile and Tufts University: where he is currently teaching courses on Digital Media at the School of the Museum of Fine Arts. “I work around mediums, with undead archives whose presence is often unseen, but cannot be forgotten. My tool of choice -to mediate among these histories and to write my own-, is digital media: A technology of absence, that I use to thread a connection between my promiscuous interest in sculpture, painting and storytelling, in order to -hopefully-, create some meaningful presence.” Forma Carente de Contenido I - Gallina Feliz, 2025 Resins and wax 20in x 5in x 5in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231835179-L5EOU68469OJ9ARC5ZAR/Cristobal4.jpeg Cristobal Cea Una Mano da La Mano, 2025 Resin, wax, and encaustic 8in x 2in x 4in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231835297-2U90EMMFWOD305ZTJI8Q/Cristobal5.jpeg Cristobal Cea Confabulación I, 2025 Resin, wax, and encaustic 8in x 2in x 4in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231834163-JXXNPMRM0S8P20R88B7A/Cristobal3.jpeg Cristobal Cea De La Oscuridad Venimos, Pero de ahí no somos, 2025 Resin, wax, and encaustic 22in x 3in x 3" https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231832909-49FGHWSKATMV72G167DZ/Cristobal2+copy.png Cristobal Cea Toroide, 2025 Resin, wax, and encaustic 7in x 7in x 2in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232063562-M4BLTILZXRSS54RI695F/crisbobal8.png Cristobal Cea Naturaleza con Chunchules, 2025 Acrylic and oil on canvas 18in x 18in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232050759-5C1U6N31ASTJ4BQKMVH8/cristobal7.png Cristobal Cea Cahuineros, 2025 Acrylic and oil on panel 18in x 14in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231830401-OOC3WX2SEAVV54OQ9JUG/Cristobal1.png Cristobal Cea El Momento Histórico, 2025 Acrylic and oil on panel 14in x 10in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231830426-ZI3AECEJD9IYJG9MVZKW/Cristobal2.png Cristobal Cea Incitatus Inauguration - Sketch II, 2025 Acrylic and oil on panel 18in x 14in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749231833686-WPPP1H512S2PSUOAB9VK/Cristobal3.png Cristobal Cea Manopod in the Rain, 2025 Acrylic and oil on panel 14in x 10in https://www.danielarivera.com/gerardo-pulido daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232452928-XDE2Q366UOUW5XISRE2T/Pulido_Gerardo_Set%237_2022_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Gerardo Pulido (b. 1975) lives and works in Santiago, Chile. He is a painter and sculptor with more than twenty-five years of experience. He has exhibited his work in Australia, the United States, France, England, and different Latin American cities. He has held residencies in Argentina (RIAA, 2008), the United States (Wassaic Project, 2025), and Puerto Rico (P. de Artistas Visitantes MCEH, 2022-21). He sporadically publishes texts on art, with two books of essays. On the other hand, he was co-creator and member of Taller BLOC, an artist-run space in Santiago (2009-2022, Chile). The Set series consists of a series of small format works started in 2022. The series is open, and Pulido continues to paint new samples such as watercolor, gauoche, fine-liner pen and graphite. Each image is made on paper, which always has the same dimensions and is oriented in the same way (horizontally). The series presents a repertoire of elements, even rules, although mobile. The game, as in a set of some sport, is the general method of painting: by proposing to play with geometry and the overflow of the stain, with line and color, with the plane and the “illusion” and, by the way, with improvisation and a certain systematization. Set #7, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://static1.squarespace.com/static/54db9ab6e4b007a652a23d7e/68432b16899109360f1a37bc/68432b28af9df071ef6162ca/1749232431430/ Gerardo Pulido https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232452928-XDE2Q366UOUW5XISRE2T/Pulido_Gerardo_Set%237_2022_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Gerardo Pulido (b. 1975) lives and works in Santiago, Chile. He is a painter and sculptor with more than twenty-five years of experience. He has exhibited his work in Australia, the United States, France, England, and different Latin American cities. He has held residencies in Argentina (RIAA, 2008), the United States (Wassaic Project, 2025), and Puerto Rico (P. de Artistas Visitantes MCEH, 2022-21). He sporadically publishes texts on art, with two books of essays. On the other hand, he was co-creator and member of Taller BLOC, an artist-run space in Santiago (2009-2022, Chile). The Set series consists of a series of small format works started in 2022. The series is open, and Pulido continues to paint new samples such as watercolor, gauoche, fine-liner pen and graphite. Each image is made on paper, which always has the same dimensions and is oriented in the same way (horizontally). The series presents a repertoire of elements, even rules, although mobile. The game, as in a set of some sport, is the general method of painting: by proposing to play with geometry and the overflow of the stain, with line and color, with the plane and the “illusion” and, by the way, with improvisation and a certain systematization. Set #7, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232452951-HE2RPG37X2OQA9A8HSQT/Pulido_Gerardo_Set%238_2022_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido - Gerardo Pulido Set #8, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232446921-Y1F60XKB9841J2JTL2BB/Pulido_Gerardo_2022_Set%2317_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #17, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232446906-2P600E0RY7EILGBPWRHW/Pulido_Gerardo_2022_Set%2329_2022_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #29, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232454234-9Y27GQDTRV54ZBOISGYX/Pulido_Gerardo_Set%2338_2024_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #38, 2024 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232448976-4JOH25ZU3JRH5JNAD3U2/Pulido_Gerardo_2022_Set%2355_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #55, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232449253-KP1BL11OJM8QFFDNDFL8/Pulido_Gerardo_2022_Set%2356_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #56, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232450607-UIKX8NVTVFIQAY2FRTQF/Pulido_Gerardo_2022_Set%2357_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #57, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749232450989-53KGZME7YTERWJKT21OE/Pulido_Gerardo_2022_Set%2358_watercoloronpaper_9%2C05x11%2C8.png Gerardo Pulido Set #58, 2022 Gouache, watercolor, graphite and fine-liner on paper. 9.05in x 11.8in https://www.danielarivera.com/gisella-scotta daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237091380-793183WM039C8MWORI0C/Gisela1.png Gisella Scotta - Gisella Scotta Gisella Mailen Scotta (1988, Córdoba, Argentina) studied Visual Arts and earned a Diploma in Drawing at the Figueroa Alcorta School. She complemented her education through clinics, workshops, and artistic gatherings. She has participated in artist residencies such as La Pinguela (Misiones), Manta (San Martín de los Andes), Rotativas (Chile), Casa Garita (Mexico), La Sala que Habito (Córdoba), Biblioteca América Elda Nancy (Rosario), and Las Cuevas (Cerro Colorado, Córdoba). Her work has been included in exhibitions such as Museo sin tiempo, camaradería talleres y otras modernidades, curated by Teresa Ricardi and Sebastián Vidal Mackinson at the Eduardo Sívori Museum of Plastic Arts (Buenos Aires); La retirada, lloviendo, una octogésima parte del futuro, open studio by Aníbal Buede and Daniel Melero at 220 Cultura Contemporánea (Córdoba); and Qué cosa, la poesía visual?, curated by Guillermo Daghero at the Kirchner Cultural Center (Buenos Aires). She recently presented a solo exhibition titled Un animal demasiado solitario se come a sí mismo at Galería Satélite (Córdoba). She has also participated in numerous national art salons and competitions. She currently lives and works in Córdoba, Argentina. I am not pretty, I am worse The work takes as its starting point a series of paintings by Émile Antoine Bayard: The Duel and The Reconciliation. These depict a duel considered to be the first emancipated one between women. The diptych of drawings, embedded in metal swords, presents on one side a graphite copy of a photograph featuring two women. Alongside this image is a text, also done in graphite. The phrase is from the book The Ones with No Part: Marriages and Divorces Between Feminism and Marxism, by Cinzia Arruzza: That courage was no rarity. There is something that hovers over it, an enthusiasm for great feats and memorable exploits, the epic or the heroic. Gisele d’Estoc, 2021 From the series No soy bonita soy peor Graphite on paper impaled on metal spear 27.5in x 51.25in x 12in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237091380-793183WM039C8MWORI0C/Gisela1.png Gisella Scotta - Gisella Scotta Gisella Mailen Scotta (1988, Córdoba, Argentina) studied Visual Arts and earned a Diploma in Drawing at the Figueroa Alcorta School. She complemented her education through clinics, workshops, and artistic gatherings. She has participated in artist residencies such as La Pinguela (Misiones), Manta (San Martín de los Andes), Rotativas (Chile), Casa Garita (Mexico), La Sala que Habito (Córdoba), Biblioteca América Elda Nancy (Rosario), and Las Cuevas (Cerro Colorado, Córdoba). Her work has been included in exhibitions such as Museo sin tiempo, camaradería talleres y otras modernidades, curated by Teresa Ricardi and Sebastián Vidal Mackinson at the Eduardo Sívori Museum of Plastic Arts (Buenos Aires); La retirada, lloviendo, una octogésima parte del futuro, open studio by Aníbal Buede and Daniel Melero at 220 Cultura Contemporánea (Córdoba); and Qué cosa, la poesía visual?, curated by Guillermo Daghero at the Kirchner Cultural Center (Buenos Aires). She recently presented a solo exhibition titled Un animal demasiado solitario se come a sí mismo at Galería Satélite (Córdoba). She has also participated in numerous national art salons and competitions. She currently lives and works in Córdoba, Argentina. I am not pretty, I am worse The work takes as its starting point a series of paintings by Émile Antoine Bayard: The Duel and The Reconciliation. These depict a duel considered to be the first emancipated one between women. The diptych of drawings, embedded in metal swords, presents on one side a graphite copy of a photograph featuring two women. Alongside this image is a text, also done in graphite. The phrase is from the book The Ones with No Part: Marriages and Divorces Between Feminism and Marxism, by Cinzia Arruzza: That courage was no rarity. There is something that hovers over it, an enthusiasm for great feats and memorable exploits, the epic or the heroic. Gisele d’Estoc, 2021 From the series No soy bonita soy peor Graphite on paper impaled on metal spear 27.5in x 51.25in x 12in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237069965-WARO8GGAYON7CESU7JMU/GS-W-42.png Gisella Scotta Gisele d’Estoc, 2021 From the series No soy bonita soy peor Graphite on paper impaled on metal spear 27.5in x 51.25in x 12in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237070258-WA1ZZBRTL8I6ULFQQZK0/GS-W-28.png Gisella Scotta https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749236846733-ZIVIOJTTAOUOLJTPLXI1/Gisela2.png Gisella Scotta https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237144246-LWXWXFD9G67I9V5SU154/GS-W-24.png Gisella Scotta https://www.danielarivera.com/guillermo-mena daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237282079-T9WG9N93BHS95VA9PQR1/Guillermo2.png Guillermo Mena - Guillermo Mena Guillermo Mena (Argentina, 1986). His practice explores expanded drawing, working through installations, performances, and moving images. With a dislocated process in constant motion, his work focuses on the exploration of atmospheric and geological phenomena as determinants of his own poetic identity, as well as of a fragile territory in continuous transformation. He has recently exhibited at the MAR Museum in Mar del Plata,Argentina. Wellesley College in Massachusetts, USA; the Emilio Caraffa Museum and the Genaro Pérez Museum of Fine Arts in Córdoba, and the Gachi Prieto Gallery in Buenos Aires, among others. He has recently participated in international residencies, including the Banff Centre for Arts and Creativity in Canada, SIM Residency in Iceland, Residencia Epecuén in Buenos Aires, Amanei in the Aeolian Islands, Italy, and EAC Montevideo in Uruguay. The perception of distance #02, 2020 Charcoal on paper 50in x 78.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237282079-T9WG9N93BHS95VA9PQR1/Guillermo2.png Guillermo Mena - Guillermo Mena Guillermo Mena (Argentina, 1986). His practice explores expanded drawing, working through installations, performances, and moving images. With a dislocated process in constant motion, his work focuses on the exploration of atmospheric and geological phenomena as determinants of his own poetic identity, as well as of a fragile territory in continuous transformation. He has recently exhibited at the MAR Museum in Mar del Plata,Argentina. Wellesley College in Massachusetts, USA; the Emilio Caraffa Museum and the Genaro Pérez Museum of Fine Arts in Córdoba, and the Gachi Prieto Gallery in Buenos Aires, among others. He has recently participated in international residencies, including the Banff Centre for Arts and Creativity in Canada, SIM Residency in Iceland, Residencia Epecuén in Buenos Aires, Amanei in the Aeolian Islands, Italy, and EAC Montevideo in Uruguay. The perception of distance #02, 2020 Charcoal on paper 50in x 78.75in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237284014-4SSVU0MD2LNAYT0KBQ73/Guillermo3.png Guillermo Mena De-Attachment action 02, 2018 Charcoal on paper installation 39.5in x 55in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237282016-QCSNCH2U3G6RBHOQADIA/Guillermo1.png Guillermo Mena Print of a storm, a translation, 2020 Charcoal on paper 39.5in x 55in https://www.danielarivera.com/javier-bustos daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237831737-86H7JV12X0PQMJTHUSFR/Javier+Bustos+Campanario+Periferico%231+V000.png Javier Bustos - Javier Bustos Javier Bustos is an Argentinian artist, composer, performer, and educator who currently resides in Buenos Aires. His artistic practice explores the poetics of listening, sound production, image, body, and movement blurring the disciplinary boundaries of sound, music, and visual art. He experiments and researches diverse techniques and methods in robotics, contemporary music, and performance. Bustos is the recipient of the prestigious 2023, 111º Salon Nacional de Artes Visuales award in Installation and Alternative Mediums in Argentina. Javier has participated in prestigious contemporary art residencies in both Latin America and Europe. His work and performances have been hosted in different exhibitions, concerts and festivals in Argentina, across Latin America, Europe, and the United Kingdom. Javier has collaborated with many artists around the world including Daniela Rivera with whom he is preparing an opera to be performed at Mass MoCA in 2026. Campanario Periférico #1, 2021 Wood, nails, hammer, wire, and percussion mechanism 15.75in x 15.75in x 8in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749237831737-86H7JV12X0PQMJTHUSFR/Javier+Bustos+Campanario+Periferico%231+V000.png Javier Bustos - Javier Bustos Javier Bustos is an Argentinian artist, composer, performer, and educator who currently resides in Buenos Aires. His artistic practice explores the poetics of listening, sound production, image, body, and movement blurring the disciplinary boundaries of sound, music, and visual art. He experiments and researches diverse techniques and methods in robotics, contemporary music, and performance. Bustos is the recipient of the prestigious 2023, 111º Salon Nacional de Artes Visuales award in Installation and Alternative Mediums in Argentina. Javier has participated in prestigious contemporary art residencies in both Latin America and Europe. His work and performances have been hosted in different exhibitions, concerts and festivals in Argentina, across Latin America, Europe, and the United Kingdom. Javier has collaborated with many artists around the world including Daniela Rivera with whom he is preparing an opera to be performed at Mass MoCA in 2026. Campanario Periférico #1, 2021 Wood, nails, hammer, wire, and percussion mechanism 15.75in x 15.75in x 8in https://www.danielarivera.com/maria-veronica-san-martin daily 0.75 2025-06-12 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238474437-YDC1MD0MFBPAQDDJO5DW/maria2.jpg Maria Veronica San Martin - Maria Veronica San Martin Maria Veronica San Martin Maria Veronica San Martin (b. 1981, Chile) is a New York-based multidisciplinary artist whose work involves uncovering and honoring histories that systems of oppression have erased, focusing on state violence in her native country, and its lasting impact. Through archives, printmaking, artist books, performance, installations and socially engaged education, she creates participatory spaces where collective memory is rebuilt through the embodied practice creating spaces that foster remembrance, resistance, and dialogue. A 2018 fellow of the Whitney Independent Study Program and holder of an MA in Art and the Book from the Corcoran School of the Arts and Design at George Washington University, San Martin has presented her work internationally in solo exhibitions at Un Lugar (Madrid, 2025), The Print Center (PA, 2023), Trinity College (CT), Fordham University (NYC), Goethe-Institut (Montreal, 2023), the Meermanno Museum (The Hague, 2019), the National Archive of Chile (2018), and BRIC Art (Brooklyn, 2017), among others. Her work has also been featured in major group exhibitions and biennials, including the Triennial of Poli/Gráfica de Puerto Rico (2024), the Immigrant Artist Biennial (New York, 2020), as well as public art and performances at Lincoln Center and Rockefeller Center in collaboration with the Climate Museum (2022). She was also commissioned by the National Museum of Women in the Arts (2023). Her work is held in over 80 collections worldwide, including The Metropolitan Museum of Art, Centre Pompidou, the Whitney Museum of American Art, the Walker Art Center, the Klingspor Museum, Harvard University, and the Museum of Memory and Human Rights. She has been awarded two NYFA Artist Fellowships, four FONDART grants from the Chilean government, a Parsons PD Grant, a Sustainable Arts Foundation Grant, and a Becas Chile Fellowship. Her artist residencies include the Monira Foundation, Interlude, Proyecto ACE, the Center for Book Arts, and Art OMI. San Martin has been developing Moving Memorials since 2012, a long-term series of 13 artist books comprising 203 hand-printed titles. Using drypoint, lithography, silkscreen, and letterpress, the books serve as poetic, tactile archives often activated through performance. Her ongoing project Dignidad, launched during her Whitney fellowship and first presented at Artists Space (New York, 2018), investigates a former torture site in Chile through survivors’ testimonies, sculpture, sound, and performance. It includes the first-ever public release of a historical audio recording and has been exhibited across the Americas and Europe, generating academic and literary responses. During the pandemic, she created The Javelin Project, a multimedia ritual-performance that examines migration and resistance through the evolution of the spear and javelin. The work includes choreography, artist books, a three-channel video installation, and original music. San Martin is also a committed educator and community organizer. Over the past five years, she has led participatory art workshops across New York City in collaboration with the MET, Art’s Education Department and New Latin Wave, the Vera List Center for Art and Politics at The New School, The Weeksville Heritage Center, Interference Archive, and Booklyn Art (where she serves on the board). She currently teaches Communication Design and Printmaking at Parsons School of Design and offers courses at the Center for Book Arts and Mixteca, using art as a tool for storytelling and empowerment within immigrant and refugee communities. Dignidad I, 2019 photo lithography on paper (image and text printed both sides) 25.5in x 25.5in x 1in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238474437-YDC1MD0MFBPAQDDJO5DW/maria2.jpg Maria Veronica San Martin - Maria Veronica San Martin Maria Veronica San Martin Maria Veronica San Martin (b. 1981, Chile) is a New York-based multidisciplinary artist whose work involves uncovering and honoring histories that systems of oppression have erased, focusing on state violence in her native country, and its lasting impact. Through archives, printmaking, artist books, performance, installations and socially engaged education, she creates participatory spaces where collective memory is rebuilt through the embodied practice creating spaces that foster remembrance, resistance, and dialogue. A 2018 fellow of the Whitney Independent Study Program and holder of an MA in Art and the Book from the Corcoran School of the Arts and Design at George Washington University, San Martin has presented her work internationally in solo exhibitions at Un Lugar (Madrid, 2025), The Print Center (PA, 2023), Trinity College (CT), Fordham University (NYC), Goethe-Institut (Montreal, 2023), the Meermanno Museum (The Hague, 2019), the National Archive of Chile (2018), and BRIC Art (Brooklyn, 2017), among others. Her work has also been featured in major group exhibitions and biennials, including the Triennial of Poli/Gráfica de Puerto Rico (2024), the Immigrant Artist Biennial (New York, 2020), as well as public art and performances at Lincoln Center and Rockefeller Center in collaboration with the Climate Museum (2022). She was also commissioned by the National Museum of Women in the Arts (2023). Her work is held in over 80 collections worldwide, including The Metropolitan Museum of Art, Centre Pompidou, the Whitney Museum of American Art, the Walker Art Center, the Klingspor Museum, Harvard University, and the Museum of Memory and Human Rights. She has been awarded two NYFA Artist Fellowships, four FONDART grants from the Chilean government, a Parsons PD Grant, a Sustainable Arts Foundation Grant, and a Becas Chile Fellowship. Her artist residencies include the Monira Foundation, Interlude, Proyecto ACE, the Center for Book Arts, and Art OMI. San Martin has been developing Moving Memorials since 2012, a long-term series of 13 artist books comprising 203 hand-printed titles. Using drypoint, lithography, silkscreen, and letterpress, the books serve as poetic, tactile archives often activated through performance. Her ongoing project Dignidad, launched during her Whitney fellowship and first presented at Artists Space (New York, 2018), investigates a former torture site in Chile through survivors’ testimonies, sculpture, sound, and performance. It includes the first-ever public release of a historical audio recording and has been exhibited across the Americas and Europe, generating academic and literary responses. During the pandemic, she created The Javelin Project, a multimedia ritual-performance that examines migration and resistance through the evolution of the spear and javelin. The work includes choreography, artist books, a three-channel video installation, and original music. San Martin is also a committed educator and community organizer. Over the past five years, she has led participatory art workshops across New York City in collaboration with the MET, Art’s Education Department and New Latin Wave, the Vera List Center for Art and Politics at The New School, The Weeksville Heritage Center, Interference Archive, and Booklyn Art (where she serves on the board). She currently teaches Communication Design and Printmaking at Parsons School of Design and offers courses at the Center for Book Arts and Mixteca, using art as a tool for storytelling and empowerment within immigrant and refugee communities. Dignidad I, 2019 photo lithography on paper (image and text printed both sides) 25.5in x 25.5in x 1in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238474412-6YSGYCZ4IKT3XMIU0UQR/maria1.jpg Maria Veronica San Martin Dignidad II, 2019 photo lithography on paper (image and text printed both sides) 25.5in x 25.5in x 1in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238513029-VMQU4SZ3GMZZCRHS4OZL/Maria2.png Maria Veronica San Martin Memory and Landscape. Unveiling the Historic Truths of Chile. 1973-1990, 2013 Artist book with drypoint aquatint etchings, woodblocks, silkscreen, charcoal powder, hand stitch, ink, clamshell box and video 10in x 7in x 1in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238475668-IPHDH1XG1X4E729G7RGH/maria3.jpg Maria Veronica San Martin Installation of Memory and Landscape. Unveiling the Historic Truths of Chile. 1973-1990 https://www.danielarivera.com/mariano-goto daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238757017-WUTO22UZCPQ7ZKMZP0NR/Mariano1.png Mariano Goto - Mariano Goto Mariano Goto (1985) is a visual artist. He is a Teacher of Visual Arts with an orientation towards painting and printing. He got his degree in the “Carlos Morel” School of Fine Arts. Between 2012 and 2014, he continued his education in visual arts with renowned artists. He participated on the workshop for young artists run by the artist Alejandra Roux in Roux Foundation. In 2015, he attended an art clinic with Diego Perrotta. In 2017, he took part in the Artists Program of the PAC Project by Pachi Prieto, and he attended a clinic and production workshop with Martin Calcagno. He also studied photography in the National PhotoClub and the Association of National Photographers of Argentina (AFPRA), and he took part in a space for debate called “Mesa Redonda” (Round Table) in Mock Art Gallery. His works of art were selected for the Buenos Aires Biennale of Young Art in 2015, for the Province Salon of Young Drawing in 2016 and they won the 3rd prize in the 13th Drawing Salon of Thesis-Faber Castell in 2018. Diálogos extraños,2018 Ink on paper 75in x 59in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238757017-WUTO22UZCPQ7ZKMZP0NR/Mariano1.png Mariano Goto - Mariano Goto Mariano Goto (1985) is a visual artist. He is a Teacher of Visual Arts with an orientation towards painting and printing. He got his degree in the “Carlos Morel” School of Fine Arts. Between 2012 and 2014, he continued his education in visual arts with renowned artists. He participated on the workshop for young artists run by the artist Alejandra Roux in Roux Foundation. In 2015, he attended an art clinic with Diego Perrotta. In 2017, he took part in the Artists Program of the PAC Project by Pachi Prieto, and he attended a clinic and production workshop with Martin Calcagno. He also studied photography in the National PhotoClub and the Association of National Photographers of Argentina (AFPRA), and he took part in a space for debate called “Mesa Redonda” (Round Table) in Mock Art Gallery. His works of art were selected for the Buenos Aires Biennale of Young Art in 2015, for the Province Salon of Young Drawing in 2016 and they won the 3rd prize in the 13th Drawing Salon of Thesis-Faber Castell in 2018. Diálogos extraños,2018 Ink on paper 75in x 59in https://www.danielarivera.com/nicole-fregonese daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238995547-1F8Y85QVQHBS0VHZM7BG/nicole.png Nicole Fregonese - Nicole Fregonese Nicole Fregonese (Buenos Aires, 1993) holds a degree in Visual Arts with a focus on painting from the Regina Pacis School of Fine Arts. She has taken part in artist workshops with Verónica Gómez and Andrés Labaké. Her first solo exhibition, Someone Points to the Sky and the Earth, was curated by Manuel A. Fernández and held at Observatoria Atelier (La Boca) in 2011. Since then, she has participated in several group exhibitions, including Summer Pop-Up Vol. II, curated by Carolina Repetto and Francisca Ranieri at Gachi Prieto Gallery (2024), and Opalina, curated by Verónica Gómez (2023), among others. In 2021, she was selected to participate in the Provincial Salon of Young Art at the Pettoruti Museum. Alguien señala el cielo y la tierra / Someone points to the sky and the earth, 2022 Oil on canvas Each 0.5in x 2in, total approx. 22in x 18in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238995547-1F8Y85QVQHBS0VHZM7BG/nicole.png Nicole Fregonese - Nicole Fregonese Nicole Fregonese (Buenos Aires, 1993) holds a degree in Visual Arts with a focus on painting from the Regina Pacis School of Fine Arts. She has taken part in artist workshops with Verónica Gómez and Andrés Labaké. Her first solo exhibition, Someone Points to the Sky and the Earth, was curated by Manuel A. Fernández and held at Observatoria Atelier (La Boca) in 2011. Since then, she has participated in several group exhibitions, including Summer Pop-Up Vol. II, curated by Carolina Repetto and Francisca Ranieri at Gachi Prieto Gallery (2024), and Opalina, curated by Verónica Gómez (2023), among others. In 2021, she was selected to participate in the Provincial Salon of Young Art at the Pettoruti Museum. Alguien señala el cielo y la tierra / Someone points to the sky and the earth, 2022 Oil on canvas Each 0.5in x 2in, total approx. 22in x 18in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238900775-BR6KUPGUIDD2IXKBC0SZ/001.png Nicole Fregonese Selections from Alguien señala el cielo y la tierra / Someone points to the sky and the earth, 2022 Oil on canvas 0.5in x 2in https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238900497-OT9Q61WPSG3AM7B7RZMD/002.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238903438-DT3AUUHSX527HMNH0FBI/003.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239031696-F8Z7WC5OGZITVN1YC71C/005.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749238903742-Q3NX9ZFOOEOVVZH2HO3W/004.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239031727-K7EE1PHM79VFFLCLIOK2/006.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239034448-3XS9EDY6MOH1XQO15RYI/007.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239034860-V39KQWGVZN22FXS5TTSQ/008.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239036558-R2DI204Y1LHZC0PE2H6G/009.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239037584-KSRFFZWIR9M8XZTIODHY/010.png Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239037826-P3WFNZJ3QVZP03ODZ5RB/011.jpeg Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239038702-8VZ1FN4UWKFQK62SCWTA/012.jpeg Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239039061-PGBCLWSPYIVSHXOEYDTF/013.jpeg Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239039902-CFB2O6591GCWEAEMMVN9/014.jpeg Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239040319-AB67MJRCKMW28UA4Z4U2/015.jpeg Nicole Fregonese https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749239040941-0A97XNY27VVTCN6Y0B9M/016.jpeg Nicole Fregonese https://www.danielarivera.com/trust daily 0.75 2025-06-06 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242266855-PFYZLAQOW5MS83JCO995/TRUST.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242266855-PFYZLAQOW5MS83JCO995/TRUST.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242274120-S7V7BL4WOOIZ244K94B2/Trust5.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242275641-X0KDU9B5ZWNO98G3CNIM/Trust5a.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242273404-GJV5CV4PZ98KEZHUDHII/Trust4.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242267212-EMMO6A8OZ4W6QJVMXQIJ/Trust1.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242270090-QVOACVJSXFCGA605MF10/Trust2.png Trust https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1749242270966-3TTQDZ7922DXGF8SV58D/Trust3.png Trust https://www.danielarivera.com/contact daily 0.75 2015-02-11 https://www.danielarivera.com/page-cv daily 0.75 2022-06-04 https://www.danielarivera.com/artist-statement-danielarivera daily 0.75 2022-12-30 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/1496357381570-UNNBGCTQC20Z683H6689/image-asset.jpeg Artist Statement The Andes Inverted at the Museum of Fine Arts, Boston. 2017 https://www.danielarivera.com/bio daily 0.75 2024-09-19 https://images.squarespace-cdn.com/content/v1/54db9ab6e4b007a652a23d7e/f5b215d7-9033-4039-8747-309350865511/Daniela_atwork.jpg Bio