About

Omar Pimienta 

EDUCATION

2019 (Expected)              Ph.D in Literature University of California-San Diego

2010                                  MFA. Visual Arts, University of California-San Diego

2006                                B.A. Latin American Studies, San Diego State University

FIELDS OF SPECIALIZATION

U.S/México border landscapes and memories, migration, citizenship, emergency poetics, and visual culture.

Selected Art Exhibitions

2018

Being Here With You/Estando aquí contigo: 42 Artists from San Diego and Tijuana. Museum of Contemporary Art San Diego (sept 2018)

5th Transborder Biennial, El Paso Museum of Art (EPMA) and the Museo de Arte de Ciudad Juárez (MACJ)

2017

“Nothing to Declare: Transnational Narratives.” MOCA Tucson. Arizona.

“UnDocumenta”. A Pacific Standard Time: LA/LA exhibit. Oceanside Museum of Art. Oceanside. Ca.

“Deconstructing Liberty: A Destiny Manifested”. A Pacific Standard Time: LA/LA exhibit. Muzeo. Anaheim, Ca.

“Desde el otro lado | Land and People Divided”. Desai | Matta Gallery. San Francisco Ca.

2016:

“ Welcome to Colonia Libertad”. The 3ème Biennale Internationale de l’Art  Contemporain de Casablanca Maroc.

“Free Citizenship & Mobile Consulate”. MOLAA (Museum Of Latin American Art). Long Beach. Ca. U.S.

2015:

“Free Citizenship & Mobile Consulate”. Common Space. City Gallery, San Diego City College, San Diego Ca. U.S.

2014:

“Welcome to Colonia Libertad” By Invitation Only IHi Instant HERLEV institute art & site research. Herlev Denmark.

2013:  

“Welcome to Colonia Libertad” Fault Metaphors. The Collaborative/Museum of Latin American Art. Long Beach Ca.

2012:  

Translation” California Institute of Integral Studies San Francisco, CA. U.S.

2011:  

“Ausencia” Encuentro Internacional de Medellín MDE11, Taller 7, Medellín Colombia.

“Defragmentation; on how to get rid of my memory voids” La Jolla Athenaeum, San Diego, CA. U.S.

2010:

“Welcome to Colonia Libertad” The Living Past: innovating Tradition in the Arts, California Institute of Integral Studies, San Francisco, CA. U.S.

2009:

“Welcome to Colonia Libertad” San Diego Now, Oceanside Museum of Art, CA. U.S.

“Welcome to Colonia Libertad” Anfitrion de la plástica nacional, Museo MACAY, Mérida Yucatan, Mexico.

2008:

“Welcome to Colonia Libertad” EL CUBO, Los Angeles Contemporary Exhibitions, Los Angeles, CA. U.S.

2007:

“Welcome to Colonia Libertad” Viva México, Zacheta National Gallery of Art, Varsovia,  Polonia.

“Welcome to Colonia Libertad” Transkulturelle und transnationale Prozesse im Grenzraum Mexiko/USA, Freie Universitat Berlin, Germany.

2006:  

“Bookleggers” PRIMER CONGRESO MULTIDISCIPLINARIO SOBRE INMIGRACIÓN MÉXICO-ESTADOS UNIDOS Cineteca UNAM Mexico City, México D.F.

 “Bookleggers” Caudal del Sur, Museo de Arte Contemporáneo de Oaxaca México.

2005:

“Bookleggers” Surveying the Border: Three Decades of Video Art about the United States and Mexico. The Paul Getty Museum Los Angeles, CA.

2004:

“Bookleggers” Museum of Contemporary Art, San Diego 2004.

 Published books:

2018  Album of fences Cardboard House Press Phoenix, Arizona U.S. Translated from the Spanish by  Jose Antonio Villarán

2017  Inspección secudaria Atrasalante Poesía. Monterrey, México.

2016  El Álbum de las Rejas Ediciones Liliputienses. Cáceres, España.

2010  Escribo desde aquí  Pre-Textos. Málaga, España.

2006  La Libertad: ciudad de paso. CECUT/ CONACULTA. New edition, Aullido libros.

Huelva, España, 2008.

2004  Primera Persona: Ella. Ediciones de la Esquina /Anortecer. New Edition, Littera

libros, Cáceres, España. 2009.

 Selected Magazine and journal publications:

Poetry: TRIPWIRE 14, 2018• DELUGE no 10 Spring, 2018 • ENTROPY September 2017 • Rio Grande Review Fall 2017• The Literary Review 2016 • Jai-alai issue 4. Spring 2015. • Waxwing Issue I, Summer 2013. • Aufgabe No. 11 2012 • El Maquinista de la generación #18-19 May 2010

Visaul art: Código Nov17-Feb18 • Vice. abril 2012 • Tierra adentro #158. July 2009 • Replicante #15 July 2008

Performance: Emergency Index an annual document of performance practice Vol.3. 2013

Short Story: Picnic #38 2011 • Revista Moho #28 Noviembre 2006

PROFESSIONAL CONFERENCES AND INVITED LECTURES.

2018

  • Migratory Poetics: Literature, Theory, and Visual Cultures in Translation. University of California Irvine.
  • Inspección Secundaria. Aula de Literatura. Museo Etnográfico Don Benito, Don Benito, Extremadura Spain.
  • Inspección Secundaria. Aula literaria de la Fundación Obra Pía de los Pizarro. Trujillo, Extremadura, Spain.
  • Inspección Secundaria. El aula literaria José María Valverde. Cáceres, Extremadura, Spain.
  • Inspección Secundaria. Aula de Literatura del Seminario Humanístico de Zafra, Extremadura, Spain.

2017

  • “Poéticas de emergencia: Rafa Saavedra” XXIII CONGRESO ANUAL DE MEXICANISTAS JUAN BRUCE-NOVOA. University of California, Irvine.

2016

  • “Welcome to Colonia Libertad.” Escuela superior de Artes de Yucatán, Yucatán México.
  • “Escritura y arte desde la frontera” Department of Modern Languages and Literatures. Case Western Reserve University, Cleveland. U.E.
  • “El potencial creativo fronterizo.” UNESCO Foro internacional de Arte en Tránsito. Mexico City, México.

2015

  • “Poesía y experimentación visual. Imágenes visuales/imágenes poéticas”

             Enclave. Poéticas experimentales. Palacio de Minería. Mexico City, México.

2014

  • “Escribo desde aquí” La Sebastiana. (PUCV; Instituto de Literatura y Ciencias del Lenguaje) Valparaiso, Chile.
  • “Escribo desde aquí” Cosmopoética. Cordoba, España. 2014.

2012

  • “Escribo desde aquí” Latinale. Berlin, Germany. 2012.

2011

  • “Estación Tijuana” MDE11 Encuentro Internacional de Arte de Medellín, Museo de Antioquia. Medellín, Colombia.

2010

  • “Escribo desde Aquí” La estafeta del viento. Casamerica, Madrid, Spain. 2010.
  • “Interdisciplinary borders” Borderlands: A Conversation about Immigration & the Arts, Counter PULSE, San Francisco, CA.

2006

  • “Bookleggers” PRIMER CONGRESO MULTIDISCIPLINARIO SOBRE INMIGRACIÓN MÉXICO-ESTADOS UNIDOS. Cineteca UNAM México City, México D.F

 

JOURNAL ARTICLES AND BOOK CHAPTERS

“Había mucha neblina o humo o no sé qué by Cristina Rivera Garza” Book Review for the U.C journal: Mexican Studies/Estudios Mexicanos, Vol. 33 No. 2, Summer 2017

“L.A./Tj; el corredor artístico-cultural binacional de la segunda mitad del siglo XX” Accepted for the book project Porciúncula: Geografías culturales del pueblo de nuestra Señora de los Ángeles. edited: Salvador Fernández. 2016.

“Erasure” Pros* Issue One Silent witness: violence and representation. publication by the Visual Arts PhD/MFA program at University of California, San Diego 2011.

“Welcome to Colonia Libertad” ERRATA # 5 Fronteras, migraciones y desplazamientos. Bogotá Colombia. 2011.

 “art is not dead” ART IS DEAD! / ART IS ALIVE! Museum of Contemporary Art San Diego For the exhibition: Here Not There: San Diego Art  Now.  2010.

“Einar and Jamex de la Torre in conversation” California Biennial Catalog. Orange County Museum of Art. 2008.

Todavía es el corrido la voz de nuestra gente?; Una entrevista con Enrique Franco. Studies in Latin American Popular Culture. Arizona University XXIII ():43-54 (in collaboration with Dr Juan Carlos Ramirez) 2004.

Honors, awards and grants:

  • Art Matters foundation grant. 2018
  • U.C President’s Dissertation Year Fellowships. 2017-18
  • Tinker Field Research Grant 2014.
  • 10th Emilio Prado Literary Price Generación del 27 Málaga, Spain. .2009.
  • Fondo Nacional para la Cultura y las Artes. 2008-09.
  • University of California Institute for Research in the Arts (UCIRA) Grant. 2009.
  • San Diego Art Price New Contemporaries II Emerging Artist Nomination. 2009.
  • Fondo Estatal para la Cultura y las Artes grant. 2007-08.
  • Conaculta/Cecut Literary Price. 2006.
  • San Diego Fellowship UCSD. 2006.

 

DISSERTATION PROJECT

“Imagined California; emergency poetics and fronterhizomatic art in twentieth-century borderlands”

 

In my dissertation, I examine how rhizomatic cultural production in late twentieth-century Tijuana- San Diego responded to processes of deterritorialization from the two nations that struggled to consolidate their shared border. As I argue, Tijuana and San Diego’s Mexican and Mexican-American writers and artists from the 1950s to the 1990s constructed their aesthetic projects and social subjectivities by engaging multidirectional nationalistic forces from both sides of the border. This community spread aesthetic and discursive rhizomes in a line of flight from a post-revolutionary centralist Mexico and across a settler-colonialist United States that had increasingly criminalized movement. Under the direction of Luis Martín Cabrera