Episode 37: Carolina Caycedo

(un)making

Episode 37: Carolina Caycedo

By Weston Teruya February 6, 2019

Weston Teruya welcomes artists, arts administrators, and cultural workers of color to get real about their lives, practices, and careers. Each episode is an in-depth look into how art gets made, but more importantly how these folks are seeing to the system of art’s (UN)making.


In this episode, I talk with Los Angeles artist Carolina Caycedo. Caycedo’s multilayered projects weave together archival, site, and community research, long term support of grassroots social movements, drawings, performance, documentary video, educational engagements, and the work of many collaborators. Through this array of tactics, she investigates the impact of extractive economies and hyper development on communities, local systems of knowledge, and the environment. While the art objects generated through her practice are not necessarily the endpoint of her work, they have a presence and depth that unfolds across a variety of contexts. For instance, her Serpent River Book--an expansive accordion fold artist book that explores the stories of communities in Colombia, Brazil, and Mexico grappling with the impact of privatization and industrialization of their rivers--is as much at home as a museum installation piece, pedagogical tool for village organizers, or performance prompt for a company of dancers. In our conversation we talk about the embodied knowledge of what she calls “geochoreographies,” navigating—and sometimes haunting—institutions, and working with ethical rigor.

Carolina Caycedo has developed publicly engaged projects in Bogota, Quezon City, Toronto, Madrid, Sao Paulo, Lisbon, San Juan, New York, San Francisco, Paris, Mexico DF, Tijuana,  and London. Her work has been exhibited worldwide with solo shows at Vienna Secession, Intermediae-Matadero Madrid, Agnes B Gallery Paris, Alianza Francesa Bogotá, Hordaland Kunstsenter Bergen, 18th Street Arts Center in Santa Monica,  and DAAD Gallery in Berlin. She has participated in international biennials including Sao Paulo (2016), Berlin (2014), Paris Triennial (2013),  New Museum (2011), Havana (2009), Whitney (2006), Venice (2003) and Istanbul (2001). In 2012, Caycedo was a DAAD Artist-in-Berlin resident. She has received funding from Creative Capital, California Community Foundation, Los Angeles Department of Cultural Affairs,  Harpo Foundation, Art Matters, Colombian Culture Ministry, Arts Council UK, and Prince Claus Fund.

Exhibition at the Huntington

Palm Springs Art Museum project

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