Acerca de

Omar Pimienta
www.omarpimienta.com
omarpimienta@gmail.com

Selected Art Exhibitions

2018
Being Here With You/Estando aquí contigo: 42 Artists from San Diego and Tijuana. Museum of Contemporary Art San           Diego.
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,
2004

           Primera Persona: Ella. Ediciones de la Esquina /Anortecer. New Edition, Littera  libros, Cáceres, España. 2009.

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.

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

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