{"id":192,"date":"2020-05-25T13:47:19","date_gmt":"2020-05-25T17:47:19","guid":{"rendered":"http:\/\/portfolio-pre.uqac.ca\/constanzacamelo\/?page_id=192"},"modified":"2020-05-26T15:03:00","modified_gmt":"2020-05-26T19:03:00","slug":"expositions","status":"publish","type":"page","link":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/expositions\/","title":{"rendered":"Expositions"},"content":{"rendered":"<h1>2020<\/h1>\n<p><em>Un, dos, tres, por mi y mis compa<\/em><em>\u00f1<\/em><em>eras.<\/em> Commissaire: Nuria Carton de Grammont. Galerie Optica. Montr\u00e9al.<\/p>\n<h1>2019<\/h1>\n<p><em>Ven y cu\u00e9ntame la verdad<\/em>, 1989-2019, Galerie Valenzuela Klenner. Bogota.<\/p>\n<h1><strong>2018<\/strong><\/h1>\n<p><em>La deriva a ciegas. 25 ans d\u2019art action de Constanza Camelo.<\/em> Exposition r\u00e9trospective. Galerie Valenzuela Klenner. Commissaire\u00a0: Emilio Tarazona. Bogota.<\/p>\n<h1>2017<\/h1>\n<p><em>Res Publica,<\/em> FIAC (Foire internationale d\u2019art contemporain de Paris), Institut Fran\u00e7ais et Ministerio de cultura de Colombia. Commissaire\u00a0: Mildred Duran. Paris.<\/p>\n<h1>2015<\/h1>\n<p><em>Quema de miedos<\/em>, archives vid\u00e9ographiques. RUMPUENG Loud Speaker Art Space Community, Chiang Mai.<\/p>\n<h1>2014<\/h1>\n<p><em>Journ\u00e9es de nettoyage<\/em>. Archives photographiques, dans le cadre de <em>Frecuencia e intensidad (2 d\u00e9cadas +1 lustro).<\/em> Galerie Valenzuela Klenner et ARTBO. Bogota.<\/p>\n<p><em>R\u00e9trospective vid\u00e9o<\/em>. Collectif We are not Speedy Gonzales. ENCUENTRO IX, Hemispheric Institute (NYU). Galerie FOFA, Montr\u00e9al.<\/p>\n<p><em>Replac\u00e9e (\u00e9tat de la recherche), <\/em>action in situ, Carri\u00e8re Saint-Honor\u00e9, Saguenay.<\/p>\n<h1>2013<\/h1>\n<p><em>Quema de miedos (<\/em>s\u00e9rie<em> Dilater ou contracter l\u2019univers)<\/em>. La Otra. Biennale d\u2019art de Bogota.<\/p>\n<p><em>Translations (<\/em>s\u00e9rie<em> Dilater ou contracter l\u2019univers)<\/em>. Rencontre Internationale de performance de Saguenay. Art Nomade. Centre BANG. Saguenay.<\/p>\n<h1>2011<\/h1>\n<p><em>Dilater ou contracter l\u2019univers III,<\/em> SATELLITE. R\u00e9sidence artistique. San Diego\/Tijuana\/ Montr\u00e9al. DARE-DARE.<\/p>\n<h1>2010<\/h1>\n<p><em>D\u00e9plac\u00e9e (\u00e9tat de la recherche), <\/em>M\u00e9dium et outil, Galerie L&#8217;Oeuvre de l&#8217;Autre, Chicoutimi.<\/p>\n<h1>2009<\/h1>\n<p><em>Hommage \u00e0 Filliou<\/em>, C&#8217;est arriv\u00e9 pr\u00e8s de chez vous, Mus\u00e9e National des Beaux-Arts du Qu\u00e9bec, Qu\u00e9bec.<\/p>\n<h1>2008<\/h1>\n<p><em>Dilater ou contracter l\u2019univers,<\/em> r\u00e9sidence La mobilit\u00e9, Studio XX, Montr\u00e9al.<\/p>\n<p><em>Contracter ou dilater l&#8217;univers I<\/em>, action in situ, \u00a0stations de m\u00e9tro, Montr\u00e9al.<\/p>\n<p><em>Contracter ou dilater l&#8217;univers II<\/em>, action in situ, Parc Emilie Gamelin, Montr\u00e9al.<\/p>\n<h1>2005<\/h1>\n<p><em>If a tree falls in the forest, and no one is there to hear it, does it make a sound ? <\/em>coll. We are not Speedy Gonzales, Cynismes. Manifestation d\u2019art de Qu\u00e9bec 3, Qu\u00e9bec.<\/p>\n<p><em>Chutes touristiques<\/em>, coll. We are not Speedy Gonzales, actions in situ, Qu\u00e9bec, Buenos Aires, Montevideo.<\/p>\n<h1>2004<\/h1>\n<p><em>Casse-t\u00eate<\/em>, \u00e9v\u00e9n. Diaspora, centre d\u2019artistes Rialto Occupato, Rome\/ Florence.<\/p>\n<p><em>D-espejo<\/em>, coll. We are not Speedy Gonzales, vid\u00e9o-action, Cinematografo El Pochote, Oaxaca, Mexico.<\/p>\n<h1>2003<\/h1>\n<p><em>Sc\u00e8ne du crime,<\/em> collectif We are not Speedy Gonzales, Espacio M\u00e9xico, Montr\u00e9al.<\/p>\n<p><em>Bouche trous volontaires<\/em>,\u00a0 action in situ, abribus Montr\u00e9al-Qu\u00e9bec, Qu\u00e9bec.<\/p>\n<p><em>Best time killer<\/em>, Stanley Park, action in situ, \u00c9v\u00e9nement <em>Pas de traduction,<\/em> FADO, Toronto.<\/p>\n<p><em>Bouche trous volontaires,<\/em> vid\u00e9o-action, \u00c9v\u00e9nement Diaspora, galerie Clark, Montr\u00e9al, L&#8217;il\u00f4t Fleuri, Qu\u00e9bec.<\/p>\n<p><em>Tomber dans le spectaculaire<\/em>, installaCtion, coll. We are not Speedy Gonzales, Espaces \u00c9mergents, Montr\u00e9al.<\/p>\n<h1>2002<\/h1>\n<p><em>Abri<\/em>, expo.\u00a0 La Demeure, documents photographiques, galerie Optica. Montr\u00e9al.<\/p>\n<h1>2001<\/h1>\n<p><em>Dislocated<\/em>, vid\u00e9o-action, Exit International Festival of Live Performances Kaapeli, Helsinki.<\/p>\n<h1>2000<\/h1>\n<p><em>Chutes<\/em>, coll. We are not Speedy Gonzales, actions in situ, espaces de l&#8217;art, Montr\u00e9al.<\/p>\n<p><em>Le feu follet<\/em>, vid\u00e9o-action avec James Partaik, Solstice des Am\u00e9riques, L&#8217;Il\u00f4t Fleuri, Qu\u00e9bec.<\/p>\n<p><em>L\u2018amour aveugle<\/em>, Cin\u00e9ma L\u2019Amour, vid\u00e9o-action avec James Partaik, II Festival Art Action FA3, Montr\u00e9al.<\/p>\n<p><em>La cucaracha<\/em>, vid\u00e9o-action, Festival International d&#8217;Art Action, Le Lieu, Qu\u00e9bec<\/p>\n<h1>1999<\/h1>\n<p><em>Fesses de faire<\/em>, action, I Festival Art Action FA3, Tangente, Montr\u00e9al.<\/p>\n<p>Obra reciente, documents photographiques, Egresados Recientes, Museo de Arte Moderno, U.N. Exposition itin\u00e9rante: Bogot\u00e1, Medell\u00edn, Cali, Cartagena.<\/p>\n<p><em>Je ne me le permets pas<\/em>, vid\u00e9o-action, Attraction Ap. Art, Articule, Montr\u00e9al.<\/p>\n<p><em>Les tas\/l\u2019\u00e9tat de nos pays,<\/em> installaCtion, avec\u00a0 James Partaik, dans\u00a0 48 Hours\/48 Rooms, 4001. St. Denis, Montr\u00e9al.<\/p>\n<h1>1998<\/h1>\n<p>Documentos videogr\u00e1ficos, documents vid\u00e9os, Arte y Medio Ambiente, MAM, Universidad\u00a0 Nacional, Bogot\u00e1.<\/p>\n<p><em>Point de stress<\/em>, action in situ, M\u00e9tro Berri-UQAM,\u00a0 Articule, Montr\u00e9al.<\/p>\n<p><em>Tremblements<\/em>, installaCtion, 2 Jours Brefs Symposium\u00a0 en Art Actuel, Saint-F\u00e9licien.<\/p>\n<h1>1997<\/h1>\n<p><em>Ces ch\u00e2teaux en Espagne II,<\/em>\u00a0 galerie L&#8217;oeil de Poisson, Qu\u00e9bec.<\/p>\n<p><em>Les porteuses d&#8217;eau II,<\/em> archives photographiques, Le Chemin qui marche, Maison Hamel Bruneau, Qu\u00e9bec.<\/p>\n<p><em>Ces ch\u00e2teaux en Espagne III ,<\/em> Promenade en cal\u00e8che, vid\u00e9o-action, 955 rue Scott, Qu\u00e9bec.<\/p>\n<p><em>Pr\u00e9visions<\/em>, installaCtion, avec\u00a0 James Partaik, Symposium de sculpture et installaCtion, Centre d&#8217;artistes Vaste et Vague, Carleton.<\/p>\n<h1>1996<\/h1>\n<p><em>Cobijo II<\/em>, documents photographiques, Sal\u00f3n Regional de Artistas, Bogot\u00e1.<\/p>\n<p><em>Journ\u00e9es de nettoyage III,<\/em>\u00a0 action in situ, Place d&#8217;Youville, Qu\u00e9bec.<\/p>\n<p><em>Sous-produits religieux, <\/em>vid\u00e9o-action avec A. Lacroix, J. Partaik et Santiago Echeverry, La Fabrique, Qu\u00e9bec.<\/p>\n<p><em>Ces ch\u00e2teaux en Espagne, <\/em>\u00a0vid\u00e9o-action, Maison de la Culture Frontenac, Montr\u00e9al.<\/p>\n<p><em>Les porteuses d&#8217;eau<\/em>, installaCtion, G. Coderre, Symbiotiques, galerie\u00a0 La Chambre Blanche, Qu\u00e9bec.<\/p>\n<h1>1995<\/h1>\n<p>Travaux r\u00e9cents, Alliance Colombo-Fran\u00e7aise, Bogot\u00e1 (exposition solo).<\/p>\n<p><em>Cobijo I<\/em>, Bienal de Venecia de Bogot\u00e1, Quartier Venecia, Bogot\u00e1.<\/p>\n<p><em>Cobijo II<\/em>,\u00a0 actions in situ, Place Santander, Bogot\u00e1, La Habana, Lima.<\/p>\n<h1>1994<\/h1>\n<p><em>Jornadas de limpieza II<\/em>, action in situ, Carrera 13, calle 21 y 22, Bogot\u00e1.<\/p>\n<p><em>Jornadas de limpieza I,<\/em> action in situ, Place de La Rebeca, Bogot\u00e1.<\/p>\n<p><em>Martires IV<\/em>,\u00a0 installaCtion, Salon Nacional de Artistas, Corferias, Bogot\u00e1.<\/p>\n<h1>1993<\/h1>\n<p><em>Asunto inconcluso,<\/em> peintures, Salon de Arte Joven, Planetario Distrital, Bogot\u00e1.<\/p>\n<p><em>Martires III<\/em>, action in situ, Festival de Acci\u00f3n Pl\u00e1stica, Teatro Jorge E. Gait\u00e1n, Bogot\u00e1.<\/p>\n<p><em>Martires II<\/em>, action in situ, Place Policarpa\u00a0 Salavarrieta, Bogot\u00e1.<\/p>\n<p><em>Martires I,<\/em> action in situ, Place\u00a0 El Concejo. Bogot\u00e1.<\/p>\n<h1>1992<\/h1>\n<p><em>Alcanzar una estrella<\/em>, action,\u00a0 Sal\u00f3n F. A. Cano, Bogot\u00e1 (prix).<\/p>\n<p><em>O negra y larga partida,<\/em> action, Sal\u00f3n de Arte Joven , Planetario\u00a0 Distrital, Bogot\u00e1.<\/p>\n<p><em>La gallina,<\/em> action in situ, plazoletas publicas Universidad Nacional, Bogot\u00e1.<\/p>\n<h1>1991<\/h1>\n<p><em>Ca\u00eddas<\/em>, peintures,\u00a0 Sal\u00f3n Francisco Antonio Cano, Bogot\u00e1.<\/p>\n<h1>1990<\/h1>\n<p><em>Controle su peso<\/em>, peinture, Sal\u00f3n Francisco A. Cano, Bogot\u00e1.<\/p>\n<p><em>Mentiras y malos olores,<\/em> vid\u00e9o, Vid\u00e9o\/environnement, Ambassade du Venezuela, Bogot\u00e1.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>2020 Un, dos, tres, por mi y mis compa\u00f1eras. Commissaire: Nuria Carton de Grammont. Galerie Optica. Montr\u00e9al. 2019 Ven y cu\u00e9ntame la verdad, 1989-2019, Galerie Valenzuela Klenner. Bogota. 2018 La deriva a ciegas. 25 ans d\u2019art action de Constanza Camelo. Exposition r\u00e9trospective. Galerie Valenzuela Klenner. Commissaire\u00a0: Emilio Tarazona. Bogota. 2017 Res Publica, FIAC (Foire internationale &hellip; <a href=\"https:\/\/portfolio.uqac.ca\/constanzacamelo\/expositions\/\" class=\"more-link\">Continuer la lecture de <span class=\"screen-reader-text\">Expositions<\/span>  <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":256,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"tags":[],"_links":{"self":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages\/192"}],"collection":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/users\/256"}],"replies":[{"embeddable":true,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/comments?post=192"}],"version-history":[{"count":3,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages\/192\/revisions"}],"predecessor-version":[{"id":236,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/pages\/192\/revisions\/236"}],"wp:attachment":[{"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/media?parent=192"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/portfolio.uqac.ca\/constanzacamelo\/wp-json\/wp\/v2\/tags?post=192"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}