Infinite Unbalancing Directions, a Judo-inspired, site-specific installation and performance. In SUR: Biennial, part of the section titled Southern Geometries: Contemporary Non-Objective Art curated by James MacDevitt at Cerritos College Art Gallery. Exhibition from August 26 – October 4, 2019. Reception including an 8pm performance directed by Mariángeles Soto-Díaz, Thursday, September 19, 5pm-9pm.

The Pink Elephant in the Room Disrupts Patterns with a Mix of Stubbornness and Unapologetic Didacticism / El Elefante Rosado en la Habitación Interrumpe Patrones con una Mezcla de Testarudez y Didactismo Impenintente, part of the series The Pink Elephant in the Room. In  These Creatures, at the Wignall Museum of Contemporary Art, curated by Cindy Rehm. September 9 – November 23, 2019. Reception on September 10, 6pm-8pm.

CENTURY. idee bauhaus, a special exhibition at the POSITIONS Berlin Art Fair, a drj project contributing to 100 jahre bauhaus. September 12-15, 2019.


“Martial Arts, Culture and Politics,” 5th Annual Martial Arts Studies Conference), Chapman University, May 23-24. Organized by Paul Bowman (Cardiff University) and Andrea Molle. (Presentation)

Every Woman Biennial, NYC La MaMa Gallery May 19-29th / Los Angeles Bendix Building, through June 2019

drj – dr. julius | ap, CENTURY. idee bauhaus, Berlin, April through June 2019. A drj project contributing to 100 jahre bauhaus.

El Elefante Rosado en la Habitación Aprende a Responder Agudamente ante Situaciones Hostiles / The Pink Elephant in the Room Learns to Respond Sharply to Hostile Situations, part of the series  The Pink Elephant In The Room. For El Mañana No Existe, curated by Lorena Gonzalez for the Galería Beatriz Gil in Caracas, Venezuela, through March, 2019.

Solo show: Everyday Grappling Operations, Orange County Museum of Art, November 3, 2018, through March 17, 2019.


Mariángeles Soto-Díaz began her art and judo studies in Venezuela, currently one of the most violent and polarized countries in the world but then a promising oil-producing nation where Modernism’s failed promise was particularly poignant. Working in a range of formats, her practice mobilizes and registers the multiplicity of her own history and subject position, moving across conceptual borders to reframe the relationship between speculative spaces and politics through notions of affect and becoming. Soto-Díaz crossbreeds Euro-American and South American languages of conceptualism, feminism and abstraction, creating paintings, performative installations and events that examine how new feminist materialisms and the rifts caused by power differentials are understood and re-imagined. She lives and works in Southern California.

Soto-Diaz holds a BA in Art and a minor in Psychology from Hampshire College, an MA in Aesthetics and Politics from CalArts and an MFA from Claremont Graduate University. Her work has been exhibited at venues including Orange County Museum of Art, MASS MoCA, El Museo del Barrio in NYC, the University of Iowa Museum, Robert and Frances Fullerton Museum of Art, and the Wignall Museum, among others, and has been reviewed in publications such as Hyperallergic, the LA Times, Art Nexus, El Nacional, El Universal and Arte al Día. Soto-Diaz is based in Southern California and is the founder of the Unconfirmed Makeshift Museum (UMM), a flexible artist-run project with a playful utopian sensibility that examines feminist and domestic politics.