CENTURY. idee bauhaus
Exhibition at the Palais Dubniczay of the House Of Arts Museum, Veszprém, Hungary. Selections from Stiftung Konzeptuelle Kunst, for the European Capital of Culture, 2023.
Work featured in a new book on contemporary abstraction from Latin America, edited by art historian and curator Cecilia Fajardo-Hill, published by Hatje Cantz. Released at Art Basel in Miami on December 1st, 2022.
Artist-in-Residence at Grand Central Art Center in Santa Ana. Supported in part by a grant to Grand Central Art Center from The Andy Warhol Foundation for the Visual Arts, 2022.
The first phase of the residency activated the Storefront Gallery with the project <catharsis_underscore repair>. The second phase of the residency is a solo exhibition titled Gentle Prowess Deliberations, which included collaborative performances on Saturday, October 1st, 2022 and on December 10, 2022.
Participation in 21-hour Zoom performance broadcast to celebrate Linda Montano’s legacy. Organized by Franklin Furnace, Grace Exhibition Space, Streamside 7, Unison Arts, E.A.R.T.H. Lab (Environmental Art, Research, Theory & Happenings, San Francisco), Three Phase Center, and The Interior Beauty Salon.
January 18th-19th, 2022.
Residency and exhibition at Transformative Arts for the project ALI to LA, with Edgar Arceneaux, Kendell Carter, April Banks, Manuel Lopez and Veronica de Jesus, curated by jill moniz. In partnership with PBS and the film by Ken Burns, Sarah Burns and David McMahon. Performance on Oct. 2, 2021. KCET feature “7 Artists Take On Muhammad Ali’s Legacy Outside the Ring,” by Jordan Riefe.
Of Warriors and New Kinships, new digital work included in the Every Woman Biennial, London/New York, June/July 2021, and in Cecilia Fajardo-Hill, “Inner/Outer Exile in Contemporary Venezuelan Art,” Review 103: Literature and Arts of the Americas, País Portátil: Contemporary Venezuelan Writing and Art, guest-edited by Javier Guerrero (Routledge, The City College of New York, 2022).
New solo work on The Hoosac Institute Journal #7, a wondrous interdisciplinary project curated by Jenny Perlin.
Work acquired by the Stiftung Konzeptuelle Kunst, Germany, Oct 2020.
Equal Rights (ER) Guide, a participatory mapping project released by the Unconfirmed Makeshift Museum (UMM), September 2020.
Residency at the Kodokan Judo Institute, Tokyo, Japan. Supported by a Hoff Family Foundation grant. November-December, 2019.
Infinite Unbalancing Directions, a performative installation. SUR: Biennial, part of the section titled Southern Geometries: Contemporary Non-Objective Art curated by James MacDevitt at Cerritos College Art Gallery. August 26 – October 4, 2019.
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 Impenitente. In These Creatures, at the Wignall Museum of Contemporary Art, curated by Cindy Rehm. September 9 – November 23, 2019.
Presentation at “Martial Arts, Culture and Politics,” 5th Annual Martial Arts Studies Conference, Chapman University, May 23-24, 2019. Organized by Paul Bowman (Cardiff University) and Andrea Molle.
drj – dr. julius | ap, CENTURY. idee bauhaus, a drj project contributing to 100 jahre bauhaus. Berlin, April – June 2019.
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.
Rema Hort Mann Foundation 2019 Emerging Artist Grant nominee
CIFO 2020 Grants and Commissions Program nominee
Mariángeles Soto-Díaz [US/VE] began her art and judo studies in her native Venezuela, the once-promising modern nation that has collapsed into one of the most violent countries in the world. In her recent work, Soto-Díaz has merged her judo and creative practices to examine inflections of power and vulnerability. Moving freely across installation, performance, studio and social practice, she sutures political, ancestral and personal modes to create her own maximalist language.
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