Recent
My project room installation at the MAK Center for Art and Architecture for How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney (curated by Jesse Lerner and Rubén Ortiz-Torres, Getty, Pacific Standard Time: LA/LA) is featured in a book by Monique Roelofs “Strange Tastes: Aesthetics and the Public in Latin American and Latinx Feminisms” (2026) published by Duke University Press (also featured in the cover image)
Commissioned project with D4SI for the Boston Public Art Triennial. Curated by Nato Thompson, 2025. Artist Intervention Debriefs, Oct. 18th.
La Cadena de Las Américas, co-artistic director with Michael Dessen, xMPL, UCI, October, 2025
A collaborative, global art experiment with an absurdist drive. OFF-TIMES was a tuning into frequencies of art with a capacious offbeat logic. Published in conjunction with The Alternative Art School, 2025.
Work published in Siren: Laughing at the Expense of Tyranny. Eds. Coco Fusco, Pablo Helguera, Noah Fischer, 2025
And going on, curated by Christiane Bail + Matthias Seidel, dr. julius art projects. Berlin, Germany.
Work in 0,0,0 – a curated portfolio of contemporary global perspectives 110 years after the 0,10 exhibition in Saint Petersburg. Portfolio with 30 global artistic positions. Printed by Symetria, Saint-Louis (France). Curator Timo Niemeyer. 2025.
Artists include Alfredo Jaar, Bahk Seon Ghi, Marguerite Hersberger, Josef Linschinger, Emanuela Fiorelli, Christian Megert Rhode Robin, Taiyoh Mori, Christian Megert, Macaparana, Moutashar Mehdi, Mariangeles Soto-Diaz, and others.
New work in Reticulárea Colectiva: Cartografías Comunes, at the Fundación Sala Mendoza, a collaboration between LA ESCUELA___, la Fundación Gego y la Sala Mendoza. Curators, concept: Miguel Braceli, Stefanie Reisinger. Fundación Sala Mendoza, Caracas, Venezuela.
New text in Dreams of dreams of dreams. Cecilia Casabona and Natasha Rijkhoff, eds. Texts: Letizia Acosta, Anna Bierler, Cecilia Casabona, Alejandro Cerón, Shaon M., Tiiu Meiner, Juliette Mirabito, Jesse Muller, Bernice Nauta, OOOReading Club, Natasha Rijkhoff, Vida Rucli, Mariángeles Soto-Díaz and Romy Day Winkel. Published by: Onomatopee Projects, Eindhoven, Netherlands, 2024.
Bio
Interdisciplinary Venezuelan-American artist Mariángeles Soto-Díaz works across studio, installation, social practice and performance, using reparative modes of inquiry to decenter violence – epistemic, structural and domestic. In her studio practice, Soto-Díaz uses non-traditional materials such as neighborhood detritus, spices, UPC codes, rubber and coconuts, as a way to metabolize colonial histories and work towards epistemological justice. The social practice dimension of her work involves collaborations with martial artists, participatory projects, experimental performance, working at domestic violence shelters, and directing the nomadic Unconfirmed Makeshift Museum (UMM). Soto-Díaz’s work has been exhibited at institutions including the Orange County Museum of Art, MASS MoCA, El Museo del Barrio and the MAK Center for Art and Architecture, and has been featured in publications including Remains-Tomorrow: Themes in Contemporary Latin American Abstraction by curator Cecilia Fajardo-Hill (Hatje Cantz), the Latin American and Latinx Visual Culture Journal (UC Press), and Monique Roelofs’ Strange Tastes: Aesthetics and the Public in Latin American and Latinx Feminisms (Duke University Press, 2026), among others. She holds masters degrees from the California Institute of the Arts and CGU, and at UC Irvine she is a Lecturer in the Department of Art and a Research Associate in the Latin American and Caribbean Studies Center.
