{"@attributes":{"version":"2.0"},"channel":{"title":"Carmen Amengual","link":"https:\/\/amengualcarmen.com","description":"Carmen Amengual","pubDate":"Tue, 23 May 2023 22:37:18 +0000","generator":"https:\/\/amengualcarmen.com","language":"en","item":[{"title":"HOME","link":"https:\/\/amengualcarmen.com\/HOME","pubDate":"Wed, 05 Sep 2018 01:13:26 +0000","guid":"https:\/\/amengualcarmen.com\/HOME","description":"\n\tC\nA\nR\nM\nE\nN\n A\nM\nE\nN\nG\nU\nAL\n\t\nW O R K S\n\nA Non-Coincidental Mirror\n\n\nBefore my, your, her, his, our, your, their faces\n\nUna fuerza que venga y me una\nFragments from\n Algiers\nOnly a Truncated\n and Imaginary\n Vision\nThe Tenuous\n Arithmetic of\n Kinship\n\nThe Ages\n\n\n\nObituary for\n Some Beautiful\n Ideas\nThe Eyes That\n See You\n\nOn the Trail Rack of Modernity\n\n\n\n\nBIO & CV\n\n PUBLICATIONS\n\nNEWS\n\nCONTACT\n\n\n\n\n\n\n\t\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n"},{"title":"NEWS","link":"https:\/\/amengualcarmen.com\/NEWS","pubDate":"Tue, 24 Dec 2019 03:23:15 +0000","guid":"https:\/\/amengualcarmen.com\/NEWS","description":"\n\tNEWS \n\n2024\nRESIDENCYAutomata, Los Angeles (upcoming)\n\n2023\nCONFERENCEFilm Act: Third Cinema and its legacies.\n3-5 December, American University in Cairo, Egypt.\n\nSYMPOSIUMFilm Undone. Elements of a Latent Cinema.\n20-23 July, Silent Green and Kino Arsenal, Berlin.\n\nFELLOWSHIPCarmen Amengual is a 2022\u20132024 Vera List Center Fellow whose fellowship project, A Non-coincidental Mirror, is part of the Vera List Center\u2019s Focus Theme cycle Correction*.\n\nGROUP EXHIBITIONSentient\nOffice Hours, art space. California State University Dominguez Hill.\n2022\nGROUP EXHIBITION\nEverything is Common\n2021-22 Whitney Independent Study Program's studio exhibition\nMay 20 \u2013 May 29, 2022, Artists Space, New York\n\nPUBLICATIONEverything is Common exhibition catalogue \n[PDF available here]\n\nGROUP EXHIBITIONKinetic Lullaby\nCo-Curated by Alison Causer & Darla Migan \nNYSS DUMBO GALLERY, Brooklyn\n\n2021\nRESIDENCYThe Whitney Independent Study Program, Studio program, New York\n\n2020\nSEMINAR\nCarmen Amengual will be leading the seminar Exercises in close reading: Text \/ Space at The Southland Institute, Los Angeles\n2019\n\nPUBLICATIONKirsten mairead Gill writes on Carmen Amengual\u2019s Fragments from Algiers. https:\/\/island-is.land\/texts\/only-a-truncated-and-imaginary-vision\n\n\nEXHIBITION\n\nOnly a Truncated and Imaginary Vision, Biquini Wax, Mexico City\n\n\n![](\"https:\/\/freight.cargo.site\/w\/944\/i\/300ffee319dab3959ffe88e315c262711eee167a14f4fce7d5e9855f0fb82a28\/Screen-Shot-2020-01-20-at-7.02.32-PM.png\")
\n\n\nRESIDENCY\nArtist in residence at SOMA Summer 2019, Mexico City\n\nPANEL DISCUSSION\nLyric Poetry is Dead. Book release and panel discussion, with Ezequiel Zaidenwerg, Carmen Amengual and Robin Meyers. Berl's Brooklyn Poetry Shop, Brooklyn, NY\n\nRESIDENCYWill be participating at the 2019 season of the Mountain School of Arts, Los Angeles\n\n\nSCREENING\nMarch, 257:30 PM\nScreening & live reading at The International Expanded Field, at Human Resources, Los Angeles. Organized by Gelare Khoshgozaran and Jimena Sarno.\n\n\n![](\"https:\/\/freight.cargo.site\/w\/640\/i\/831e7f4e4e8f6af8df6590cdce37c878bdb091231b63aee03502311c25b6ab5a\/Screen-Shot-2020-01-20-at-6.43.15-PM.png\")
\n\n\n2018\n\nEXHIBITIONThe tenuous arithmetics of kinship is opening this Thursday at table, Chicago\n\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/90fec3088ec97c28cf50ef1a80d0474dbeb4aa92436b3e88feb9ab4bee36b210\/Table-Invite-Final.jpg\")
\n\nEXHIBITION\n\nThe Ages opens this Saturday, June 23rd. at 5pm\nMirasol 1370, Los Angeles\n\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/5b9ec0efe8e235313284243f77244afd67560bd23bdc6b123726e530b692d527\/Screen-Shot-2018-06-17-at-1.08.16-PM.png\")
\n\t\n\n\n\t2017\n\nPANEL\nOctober 22\nThe Words of Others. Book launch and panel discussion\nRuth Est\u00e9vez, director of the gallery at REDCAT, and curator of the exhibition The Words of Others: Le\u00f3n Ferrari and Rhetoric in Times of War, will lead a discussion with Jen Hofer, one of the Antena-affiliated translators of the book, and Carmen Amengual, researcher, about the process behind the making of this piece, as well as the practice of collage as a political strategy in the work of Ferrari, and in the broader context of the 1960s and 1970s.\nREDCAT\n\n\nPERFORMANCE\nSeptember 16\n1-8 pm\nI will be participating in the reading-performance The Words of Others (Palabras ajenas) by Le\u00f3n Ferrari at REDCAT, Los Angeles\nCURATORIAL\nLATlab presents\nI Come From Where the Palm Tree Grows\nOrganized by Molly Surazhsky\nJune 16th\n7-10 pm\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/f19f7fbfc508edbcfa7cae947fb1b4bfc06c7939e7ba6fa29ce5c34328bd3131\/Screen-Shot-2020-01-20-at-11.07.37-PM.png\")
\n\n\nCURATORIAL\nLATlab presents\nJuliana Luj\u00e1n and Julio Orta\nFriday, April 14th\n7-10 pm\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/1da45d989a364d226db719d842cfaf9263c25b6905e4798d8a23b8527ebe7f17\/Screen-Shot-2020-01-20-at-11.00.13-PM.png\")
\n\n\n2016\nRESIDENCY\nArtist in Residence, CalArts REEF Residency, Maker City LA\n\n\nGROUP EXHIBITION\nExit Interview, CalArts MFA exhibition\nJune 25, 6-9 pm \nHuman Resources, Los Angeles\n\n\n\n\n\n\t\n\n"},{"title":"CONTACT","link":"https:\/\/amengualcarmen.com\/CONTACT","pubDate":"Tue, 24 Dec 2019 03:22:08 +0000","guid":"https:\/\/amengualcarmen.com\/CONTACT","description":"CONTCAT\nCarmen Amengual is an artist based in New York and Los Angeles. For inquiries or to request additional information, please email:\ncaramengual@gmail.com\n\n\n\n"},{"title":"Bio \/ CV","link":"https:\/\/amengualcarmen.com\/Bio-CV","pubDate":"Tue, 24 Dec 2019 03:22:42 +0000","guid":"https:\/\/amengualcarmen.com\/Bio-CV","description":"\n\tBIO & CV\n\nCarmen Amengual (Buenos Aires, 1979) is a multidisciplinary artist, filmmaker, and independent researcher. Her practice draws on fragile archives, micro-histories, and oral narratives to investigate how stories of resistance circulate and transform over time. Through experimental cinema, installation, and critical research, she activates incomplete or forgotten materials \u2014unrealized scripts, unfinished projects, and buried collective and individual dreams\u2014 situating them in the present and opening them to experiential dimensions capable of projecting new futurities.\n\nHer work engages with historical and family archives, as well as myths, oral accounts, and literature, to explore the intersections of political memory, biography, and history. Informed by feminist and anti-colonial methodologies, she examines the ruins of emancipatory cultural imaginaries and the forms of sociability, pedagogy, and friendship they sought to create. Her projects span film, sculpture, sound, text, and installation, unfolding layered narratives in which the historical and the speculative converge to reimagine the ties between past and future.\n\nIn recent years, Amengual has developed A Non-Coincidental Mirror, a film-research and installation project that reconstructs the legacy of the Third World Filmmakers Meetings (Algiers, 1973 \u2013 Buenos Aires, 1974) while revisiting an unrealized documentary project of the era. Its first phase, presented in a solo exhibition at Smack Mellon, New York (2024\u201325), received the Creative Capital Award (2024), two consecutive Graham Foundation grants (2023\u201324), and a research fellowship from the Foundation for Contemporary Arts (2025).\n\nShe has participated in programs and residencies including the Whitney Independent Study Program (2021\u201322), the Vera List Center for Arts and Politics Fellowship (2022\u201324), and the Cit\u00e9 Internationale des Arts, Paris (2025). Her work has been shown in North America (Smack Mellon, Artists Space, New York; table, Chicago; Human Resources, Los Angeles; Bikini Wax, Mexico City), Europe (Silent Green, Berlin; Cit\u00e9 Internationale des Arts, Paris), and Africa (American University, Cairo). She holds a BA in Comparative Literature from the University of Buenos Aires and an MFA in Visual Arts from CalArts.\n\n\n\n\t\n\n\n\tEDUCATION\n2021\u20132022\u2003Whitney Museum of American Art, Independent Study Program, Studio Program, New York, US\n2016\u2003MFA, Art Program, California Institute of the Arts, Valencia, California, US\n2014\u2003BA, Comparative Literature, University of Buenos Aires, Argentina\nGRANTS, AWARDS & RESIDENCIES\n2025\u2003\nAwardee, Foundation for Contemporary Arts, Research Grant, USArtist-in-Residence, Cit\u00e9 Internationale des Arts, Paris, FR2024\u2003Awardee, Creative Capital, New York, USGrantee, Foundation for Contemporary Arts, Emergency Grant, US\n\nGrantee, Center for Cultural Innovation, Quick Grant, Los Angeles, US\nGrantee, Graham Foundation, Production & Presentation Grant to Individual Artists, Chicago, US\nArtist-in-Residence, Rhizome, Algiers, DZ\nGrantee, Prospect Art, New Work Grant, Los Angeles, US\nArtist-in-Residence, Automata, Los Angeles, US\n2023\u2003Grantee, Graham Foundation, Research & Development Grant to Individual Artists, Chicago, US\n2022\u20132024\u2003Artist Fellow, Vera List Center for Arts and Politics, The New School, New York, US\n2021\u20132022\u2003Studio Fellow, Whitney Museum of American Art, Independent Study Program, New York, US\n2019\u2003Artist-in-Residence, SOMA Summer, Mexico City, MXArtist-in-Residence, The Mountain School of Arts, Los Angeles, US\n2016\u20132017\u2003Artist-in-Residence, CalArts REEF Residency, Maker City LA, Los Angeles, US\n2015\u2003Fellow, CalArts Research Fellowship, California Institute of the Arts, Valencia, US\nGrantee, Dean's Reserve Grant, California Institute of the Arts, Valencia, US\nGrantee, CalArts Grant, California Institute of the Arts, Valencia, US\n2014\u2003Grantee, Dean's Reserve Grant, California Institute of the Arts, Valencia, US\nGrantee, CalArts Grant, California Institute of the Arts, Valencia, US\n2005\u2003Awardee, Premio Centenario, Primer Sal\u00f3n de Artes Visuales Prilidiano Pueyrred\u00f3n, Museo Quinta Trabucco, Buenos Aires, AR\n\n\n\n\tSOLO EXHIBITIONS\n2024\u201325\u2003 A Non-Coincidental Mirror, Smack Mellon, Brooklyn, New York, US\n2019\u2003Only a Truncated and Imaginary Vision, Biquini Wax EPS, Mexico City, MX\n2018\u2003The Tenuous Arithmetic of Kinship, table, Chicago, US\nThe Ages, Dread Lounge, Los Angeles, US\n2016\u2003Playing Around Her, Mint Gallery, California Institute of the Arts, Valencia, US\n2015Other Words, Other Worlds, Gallery D300, California Institute of the Arts, Valencia, US\nSELECTED GROUP EXHIBITIONS2025\u2003Non-Aligned Visions, Public Trust, Philadelphia, US\n\n2023\u2003Sentient, Office Hours, California State University Dominguez Hills, Carson, US\n2022\u2003Everything Is Common, Whitney ISP 2021\u201322, Artists Space, New York, US\nKinetic Lullaby, NYSS Dumbo Gallery, Brooklyn, US\n2020\u2003Artist Run Chicago 2.0 (with Kyle Bellucci Johanson), Hyde Park Art Center, Chicago, US\n2019\u2003The International Expanded Field, Human Resources, Los Angeles, US\n2016\u2003Exit Interview, Human Resources, Los Angeles, US\n2015\u2003Summer Recital: A Sculpture Exhibition, Main Gallery, California Institute of the Arts, Valencia, US\nMid-Residency Exhibition, Main Gallery, California Institute of the Arts, Valencia, US\n2014\u2003Six Against the Cyclops, E.D. Freeman Gallery, Los Angeles, US\nWorks on Paper, Antenna Studio, Los Angeles, US\nCuriouser & Curiouser, Art Division, Los Angeles, US\n2005\u2003Premio Centenario, Museo Quinta Trabucco, Buenos Aires, AR\n\tSCREENINGS (selected)\n2025\u2003Non-Aligned Visions, Public Trust, Philadelphia, US\nCin\u00e9 Club, Cit\u00e9 Internationale des Arts, Paris, FR\nA Non-Coincidental Mirror, e-flux Screening Room, Brooklyn, New York, US\n2024\u2003Tiny Sketches for a Piece on Language and Power, Prospect Art, Los Angeles, US\nFootprints of the Forgotten, Los Angeles Filmforum, 2220 Arts + Archives, US\n2019\u2003The International Expanded Field, Human Resources, Los Angeles, USEcho Park Film Center, Los Angeles, USPRESENTATIONS & PANELS 2025Visible Evidence, conference. Center for Advanced Research in Global Communication Annenberg School for Communication, University of Pennsylvania SUR O NO SUR. International Conference. University of Valpara\u00edso. School of Film Studies. Chile A Non-Coincidental Mirror: Book release. Public conversation between Yasmina Price and Carmen Amengual moderated by Eriola Pira. Carmen Amengual and Soyoung Yoon in conversation: E-flux screening room. New York. 2024 Footprints of the Forgotten, (speaker). Los Angeles Filmforum. 2220 Arts + Archives, Los Angeles. 2023 Film-Act: Third Cinema and its legacies, (speaker), American University in Cairo, Egypt. Film Undone. Elements of a Latent Cinema, (speaker) Silent Green & Film Arsenal, Berlin.2022 Vera List Center for Arts and Politics 2022 Forum, (speaker). The New School, New York. 2020 Adelita Husni Bey and Simon Leung in conversation (Presenter and organizer). REDCAT, Los Angeles2019 Lyric Poetry is Dead. Book release and panel discussion, with Ezequiel Zaidenwerg, Carmen Amengual and Robin Meyers. Berl's Brooklyn Poetry Shop, Brooklyn, NY2017 In search of The Words of Others. Le\u00f3n Ferrari, The Words of Others. panel discussion with Ruth Est\u00e9vez, Carmen Amengual and Jen Hoffer. REDCAT, \nLos AngelesMedia & Democracy: From the Vietnam War to the Consolidation of \u201cAlternative Facts\u201d in the Digital Era: Marc Cooper, Robert Scheer and Suzi Weissman in conversation. (Organizer)REDCAT, Los Angeles2016 Arts and Politics. A Latin American perspective. LATlab Laboratory for Latin American Art\/Thinking. CalArts REEF Residency, Maker City LA, Los Angeles\n\t\nCURATORIAL & ORGANIZING (selected)\n2025\u2003\nCo-curator, To Trace the Line Where Your Body Cut the Air, Smack Mellon, Brooklyn, US\n2021\u2003\nCurator, Aria Dean: Suite!, Gallery at REDCAT, Los Angeles, US\n2020\u2003\nAssistant Curator, Inside Out & Upside Down: Posters from CalArts 1970\u20132019, REDCAT, Los Angeles, US\nCo-Curator, 50+50: A Creative Century from Chouinard to CalArts, REDCAT, Los Angeles, US\n2017\u2003\nAssistant Curator & Research Associate. The Words of Others: Le\u00f3n Ferrari and Rhetoric in Times of War, REDCAT \/ PST:LA\/LACo-Director LATlab, Laboratory for Latin American Art & Thinking. Los Angeles, USTEACHING EXPERIENCE\n2025\u2003Guest Lecturer, MFA Curatorial Practice, School of Visual Arts, New York, US\n2022\u2003Visiting Lecturer, MFA, Parsons School of Art, The New School, US\n2020\u2003Faculty, Exercises in Close Reading: Text\/Space, The Southland Institute, Los Angeles, US\n2019\u2003Faculty, The Southland Institute, Los Angeles, US\n2018\u2003Visiting Artist Lecture, School of the Art Institute of Chicago, USVisiting Faculty, CalArts Winter Session, Seminar: The Idea of Latin America\n2016\u2003Graduate Assistant, Thomas Lawson: Thinking about Painting, CalArts, US \n\n\tPRESS & PUBLICATIONS (selected)\n2025 \nA Non-Coincidental Mirror Catalogue, Vera List Center, New York, US\n\u201cThe Voice of the Wet Concrete: A Conversation\u201d (with Soyoung Yoon), e-flux Notes, Feb 2025AK Latif. \"From Buenos Aires to Beirut: Circuits of Cinematic Solidarities\". Senses of Cinema, May 2025.\n\n\n2024\u2003\n\u201cThe 10 Exhibitions to See in December,\u201d ArtReview, Dec 2024\u2003\u2003\u2003\nBetween Illusion and Revolution, in Film Undone. Elements of a Latent Cinema, Archive Books, Berlin\u2003\u2003\u2003\nRevista Concreta #22 (Contributor), Editorial Concreta, Spain\n\n2021\u2003\u201cUnseen in the Archives: Inclusion and Omission,\u201d East of Borneo, Jan 2021\n\n2019\u2003Kirsten Mairead Gill, \u201cOnly a Truncated and Imaginary Vision,\u201d Island Island\n\n2018\u2003Lyric Poetry Is Dead, drawings by Amengual, Cardboard House Press, NY\n\n2017\u2003\u201cIntroduction: The Words of Others\u201d (with Ruth Est\u00e9vez), in Le\u00f3n Ferrari: The Words of Others, REDCAT \/ X Artists\u2019 Books, Los Angeles\n"},{"title":"A Non-coincidental Mirror","link":"https:\/\/amengualcarmen.com\/A-Non-coincidental-Mirror","pubDate":"Tue, 23 May 2023 22:37:18 +0000","guid":"https:\/\/amengualcarmen.com\/A-Non-coincidental-Mirror","description":"A Non-Coincidental Mirror\n\nFILM RESEARCH ONGOING \n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/fcb9039dbdd1c33cf1278eb72d2a446ce930a8cd7117d8065afadfb3cd3a140f\/2024_AMENGUAL_image01.jpg\")
Carmen Amengual, A Non-coincidental Mirror. 2024. Still from film. 16 mm to digital.\n\n\nA Non-Coincidental Mirror is a film-research project that fabricates a memory of a forgotten event: the Third World Filmmakers Meetings. Held in Algiers in 1973 and later in Buenos Aires in 1974, the gatherings brought together filmmakers from Africa, Latin America, and the Arab world to discuss the role of cinema in anti-colonial struggles, to support one another\u2019s work, and to strategize how to make films under conditions of censorship, exile, and scarcity. Out of these meetings emerged the plan to produce an educational documentary about African liberation movements, intended for a Latin American audience. That film was never realized.\n\n\n\t![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/bc0a6e68a6691b0c941b80a2342a7675f4b99d17e13702e4b8bad34c5f793618\/PXL_20241211_173214145.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. \n\n\n\tThis project imaginatively reconstructs this unrealized venture through experimental storytelling, documentary forms, and installation strategies. Hybridizing the traditions of experimental and political cinema, A Non-Coincidental Mirror recontextualizes the Meetings as a key, though overlooked, episode in the history of Global South solidarities.\n\nThe work is grounded in an archive the artist inherited from her mother, who collaborated with the organizers of the Meetings on the unfinished documentary project. From this micro-historical perspective, the research opens onto a larger story: one of solidarity networks, cultural ambition, and the historical forces that determined what could and could not be made. \n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/74bedb58b658e7ab84ad76cfde698567cfcef9d2ea4af727d43b6654afcc3852\/241211EFrossard_SMellon_CAmengual_6986b.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. Photo by Etienne Frossard\nBy weaving together archival research, oral histories, and a critical reading of Third Cinema films and manifestos, the project reconstructs not only events but also the dreams and contradictions that animated them.\n\n\n\n\tAnchored in the ethos of radical filmmaking, the project is experimental in form and method, probing the ghostly presences of the past and reactivating their emancipatory potential for present and future generations.\nAt the core of Third World internationalism was a fragile but powerful optimism: the hope of finding a mirror in the emancipatory struggles of others. This project traces both its reach and its limits, offering a lived history of ideas that reverberates into present debates on culture and politics. It reflects on the revolutionary force of friendship and on the delicate networks these cultural agents sought to weave\u2014rooted in the belief that cinema could enable oppressed peoples not only to recognize one another, but also to imagine and work together toward emancipation.\n\t![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/95f91fe660d829ca9e394e2fb6867b89ff955d31dda4ebe81e290a613180b662\/Amengual_Latent-Cinema_3.jpg\")
\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/220dde62c161f017cefd849c575a0c5d49a3f01d97dd42f307fa10b6d290e3ed\/241211EFrossard_SMellon_CAmengual_7042b.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. Photo by Etienne Frossard\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/5f82013f1fff062f22e075b23af331498a72da507d11beca626ea1b74b86cfbf\/241211EFrossard_SMellon_CAmengual_7009b.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. Photo by Etienne Frossard"},{"title":"Kinetic Lullaby PR","link":"https:\/\/amengualcarmen.com\/Kinetic-Lullaby-PR","pubDate":"Thu, 12 Jan 2023 19:44:43 +0000","guid":"https:\/\/amengualcarmen.com\/Kinetic-Lullaby-PR","description":"KINETIC LULLABY \nJUNE 9 -JULY 16 \nNYSS DUMBO GALLERY 20 JAY STREET # 307 BROOKLYN, NY 11201 \n\nCARMEN AMENGUAL, \u1ecdM\u1ecdLOL\u00da REFILWE BAB\u00c1T\u00daND\u00c9, LIA KUCERA MERCEDES MATTER, DANA NGUY.N, FERNANDO MANUEL OLIVIA MCKAYLA ROSS, SAKI SATO. \n\nCO-CURATED BY ALISON CAUSER & DARLA MIGAN @VARIABLETERMS \n\nWhat does it mean to be reared in a world that demands we violently tear ourselves into bits and bytes, shattering the embodied psyche\u2019s longing for memory and rest? How can we endure the ceaseless cutting up of self\/soul delineated by categories intended to kill off our capacity for unalienated pleasure and political action? \nThe eight artists in KINETIC LULLABY work in the mediums of sound, printed word, painting, sculpture, and lens-based practices to dare to remember and dream, to code mytho-logical powers, to acknowledge tortuous labors as well as spiritual holism. Briefly this summer, we are holding our fragments together. \n\nIn the midst of our ongoing global pandemic we remain captive to genocidal logics evidenced by vaccine apartheid, new wars, and the assault on womxn\u2019s reproductive rights. There has also been a noticeable rise in rates of premature death correlated with increased isolation, general anxiety about the future, and the growing awareness of environmental precarity demanding our attention. Vehicular accidents are killing an overwhelming number of Black pedestrians in the U.S.; just as rural farmers worldwide succumb to hopelessness due to economic inflation; and unprecedented rates of suicide (among children ages ten to fourteen) shock the mental health industry. \n\nThe queer Black Carribean analysis of artist and cyberdoula Olivia McKayla Ross searches for a way to make it make sense. Through pop choreographies her desire takes on mythological power inspired by the relationship between electronic video, sanity, and vanity. Deep fantasy means instagram filters, glamour magic, and mirrors, but also anxieties of video transmission: immersion, absorption, surveillance, and control. The poet-programmer\u2019s sense-making moves from the underwater\/under-seen archipelago, her own marronage from the algorithm\u2019s caged reduction. \n\nFernando Manuel\u2019s Recordando el Alma allegorically embodies the trace of a spiritual practice by documenting childhood memories that would otherwise be irretrievable without the use of their camera. By unifying the whispering past with bodily abstraction, the artist invokes forms emerging between spiritual ecstasies and a mostly forgotten suburban plaza in Hialeah. \n\nMy studio visit in upstate New York with artist Saki Sato overwhelmed me with feelings that surfaced as I gently held the artist\u2019s small sculptures. Recalling a certain animated character buried deep in my own subconscious made me feel exposed yet safe. I was transported back to memories of being a latchkey kid at age ten or eleven\u2013still young enough to watch PBS cartoons, but also old enough to look forward to afternoon talk shows like Oprah and Ricki Lake. Sato\u2019s sculptures embrace the spirit of a time just before racing to the dial-up modem became our only after-school activity. \n\nThe surround of the ongoing emergency only heightened by the global pandemic is part of the long dur\u00e9e of what Hortense Spillers calls the \u201csteady state\u201d of crisis as opposed to thinking crisis as a state of exception.1 This means that regimes of (neo)colonialism and (neo)liberalism sliding into new fascisms, have only benefited from pandemic conditions. In 1963 the abstract expressionist painter and New York Studio School founder Mercedes Matter wrote: \u201cToday, it is possible for a student to go through art school and gain an acute perception of \u201cwhat is going on,\u201d a fairly intelligent grasp of the situation, and yet never have departed a single step from his original na\u00efvet\u00e9 of vision\u2026[B]ut ironically, while handing him the gift of freedom with one hand, the modern school snatches away from him with the other the circumstances in which this exacting labor of self-confronting can take place: the time to work.\u201d2 By time to work, I hear Matter (still) calling our attention to practice\u2013 specifically, the time needed to develop the skills and patience necessary to discover what is most important about and indistinguishable between art and life. \n\nIn Fingerprint of the Universe, conceptual artist Dana Nguy.n carves frames from the wood of a tree called by two names on either side an ocean important to her life story. To hold and honor her separated family as a first\u2013gen kid, a ritual encircling of imperial and personal histories occurs-\u2013 connecting hands and fingers to tree rings and galaxies. Fire has also been an important source of inspiration for the artist. Witnessing life turning to stardust, Nguy.n creates an altar-like situation with a rare black beach sand of Norcal freeing themselves to love on their own terms. \n\nLia Kucera\u2019s mixed media exploration of matrilineal inheritances meditates on one of the most intimate relationships: the formation of her attitude towards her own body. In the artist\u2019s recent practice, inspired by Latoya Ruby Fraizer\u2019s The Notion of Family series (2001-14), Kucera went back to her own family home to physically build a symbolic gift of bodily agency. The artist's former high school campus sets the stage of public address and for recalibrating mother daughter bonds. \n\nCarmen Amengual\u2019s mobile sculpture considers how extractive labor and attention economies exhaust the political capacities of the body and transform it into a subject and object of consumption. The piece is a meditation on the longing for a political capacity for action that would allow the body to recover from exhaustion. Through its textual component \u201cUna fuerza que venga y me una, una voz que articule mis demandas,'' the piece invites the viewer to consider what forces must be conjured to transform this passive position of consumption to one of action and intervention. \n\nThe artist \u1ecdm\u1ecdlol\u00fa refilwe bab\u00e1t\u00fand\u00e9\u2019s for d.love arranges song, spoken word, and collaged moving image. Unfolding like a dreamy ode to resting in nature, we witness the tops of tall trees superimposed with streams of flowing river water. Foamy ocean shorelines swirl or are seen running vertically, then horizontally on screen. Paired sunsets appear at different moments and angles, perhaps from different evenings and in multiple locations as the artist embraces the whole sky\u2019s fiery orange and indigos. How often we forget the brilliance of foliage, moon, and water or that there are countless ways to love. A prayerful poem rises from the language of a saved voicemail of a friend, sliding bass strums and the singer\u2019s voice, the most ancient instrument, opens dimensions to let in grace. Across multiple sense registers, bab\u00e1t\u00fand\u00e9's video practice sounds out an attunement for grounding ourselves right here, right now. \n\n\n1 Hortense Spillers, \u201cTime and Crisis: Questions for Psychoanalysis and Race,\u201d Journal of French and Francophone Philosophy Vol. XXVI, No 2 (2018), 25-31. \n\n2 Mercedes Matter, \u201cWhat\u2019s Wrong with the U.S. Art Schools, ARTNEWS, 1963. \n\n\nCONTACT: DARLA@VARIABLETERMS.COM"},{"title":"Before my, your, her, his, our, your, their faces ","link":"https:\/\/amengualcarmen.com\/Before-my-your-her-his-our-your-their-faces","pubDate":"Tue, 10 Jan 2023 20:25:34 +0000","guid":"https:\/\/amengualcarmen.com\/Before-my-your-her-his-our-your-their-faces","description":"works\n\nBefore my, your, her, his, our, your, their faces\nDelante de mis, tus, sus, nuestros, vuestros, sus rostros2022\n\n\n\tAs with many countries in what is currently known as the Global South, 1973 was a pivotal year in Argentina. The return of General Per\u00f3n, after 17 years in exile and the prohibition of his party, generated big hopes among a very active and highly organized leftist movement. The hopes were short-lived. The September 11th coup in Chile, and Per\u00f3n\u2019s conservative turn quickly proved that Christian conservative alliances, and the definitive U.S. intervention in South America would ensure the prevention of any socialist developments in the region. \n\n\nBefore my, your, her, his, our, your, their faces is a three channel video installation that looks at this period based on a set of letters that the artist\u2019s mother received from friends while she was living in Paris, and later, in Algiers.\n \n\nThe voices in the letters discuss some of these major historical events - alongside personal matters. Their language depicts a complex landscape of affective textures, one that speaks of how subjective positions arose from a collision with historical events, and of how micro-political emancipatory drives intertwined with macro-political and collective movements.\n\nBy once again giving texture to these letters\u2019 language -through animation, songs and textual strategies- the piece is a reflection on the historical nature of our present. Through amplifying these voices\u2019 echoes, their hopes and contradictions, it seeks to articulate the historical riddle they were entangled with. Its aftermath is our present. May the crumbles of their dreams give us a sense of orientation.\n\n\t![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/52333bf10f5ba914faee0addf96cb2e6db0684d46c17601509eeac95e3128c69\/Everything-is-common_Artists-Space_2022_64.jpg\")
Before my, your, her, his, our, your, their faces, 2022. Installation view. Everything is Common, Whitney ISP 2021-22 Studio Program Exhibition, Artists Space, New York, 2022.\n Image credit: Steven Cottingham\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/859ef419b2e93a0e13dcfbc15bc439fc6ad3d55e7a2f1b70a4e974812113a335\/Tres-3T_Composite_Website.png\")
\nCarmen Amengual, Before my, your, her, his, our, your, their faces, 2022 Stills from video.\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/045eb5d6d68e2e5f29ae98b4a2c02c6e422f8a6936fc77f44f46df3da07a60d3\/Screen-Shot-2023-01-10-at-1.13.09-PM.png\")
\n Before my, your, her, his, our, your, their faces, 2022. Exhibition brochure.\n\n\n\n\t\n\t\n\t\n\n\n\n\n\t\n\t\n\t\n\n\t\n\n"},{"title":"Una fuerza que venga","link":"https:\/\/amengualcarmen.com\/Una-fuerza-que-venga","pubDate":"Tue, 10 Jan 2023 20:25:22 +0000","guid":"https:\/\/amengualcarmen.com\/Una-fuerza-que-venga","description":"WORKS\n\nUna fuerza que venga y me una,\nuna voz que articule mis demandas2022\n\t\nInstallation for the group exhibition Kinetic Lullaby, curated by Alison Causer and Darla Migan at NYSS Dumbo Gallery, Brooklyn\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/13e51a1188d411def0f49f57bc8c84fa58d4b4d5112411d15d25c1b388150d4c\/Screen-Shot-2023-01-31-at-9.32.15-PM.png\")
\nUna fuerza que venga y me una, May a force come and bring me together, 2022, installation view. Kinetic Lullaby, NYSS Dumbo Gallery, Brooklyn.\n\n\t\nExcerpt from curatorial text \n[full text here]What does it mean to be reared in a world that demands we violently tear ourselves into bits and bytes, shattering the embodied psyche\u2019s longing for memory and rest? How can we endure the ceaseless cutting up of self\/soul delineated by categories intended to kill off our capacity for unalienated pleasure and political action? The eight artists in KINETIC LULLABY work in the mediums of sound, printed word, painting, sculpture, and lens-based practices to dare to remember and dream, to code mytho-logical powers, to acknowledge tortuous labors as well as spiritual holism. Briefly this summer, we are holding our fragments together. [...]\nCarmen Amengual\u2019s mobile sculpture considers how extractive labor and attention economies exhaust the political capacities of the body and transform it into a subject and object of consumption. The piece is a meditation on the longing for a political capacity for action that would allow the body to recover from exhaustion. Through its textual component \u201cUna fuerza que venga y me una, una voz que articule mis demandas,'' the piece invites the viewer to consider what forces must be conjured to transform this passive position of consumption to one of action and intervention.\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/743ce0be5b15ff978a91c808cbf515ba772f217c7355e0fcae320cfddffb54a5\/Screen-Shot-2023-01-31-at-9.32.36-PM.png\")
Una fuerza que venga y me una, May a force come and bring me together, 2022, installation view. Kinetic Lullaby, NYSS Dumbo Gallery, Brooklyn."},{"title":"Fragments of Algiers","link":"https:\/\/amengualcarmen.com\/Fragments-of-Algiers","pubDate":"Tue, 24 Dec 2019 03:08:30 +0000","guid":"https:\/\/amengualcarmen.com\/Fragments-of-Algiers","description":"\n\tWORKS\nFragments from Algiers \n\n2019 \n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/b7e120dcf3bf1de434e76888c18f49611885b60402f3e3bc82fc0728ac6eab35\/Screen-Shot-2020-01-22-at-9.10.03-AM.png\")
Carmen Amengual, Fragments from Algiers, 2019. Super 8 to digital, 4:52 min.\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/2c55ef3af03dc5e43c893f3c43ebbaca4b95968475d2fe5be0e1245b923d98f1\/Screen-Shot-2020-01-22-at-9.11.23-AM.png\")
\nCarmen Amengual, Fragments from Algiers, 2019. Super 8 to digital, 4:52 min. \n\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/f54434454830d3b473d418c83401910409772fa66c5d3889b84677b9aaf2eac1\/Screen-Shot-2020-01-22-at-9.09.52-AM.png\")
\nCarmen Amengual, Fragments from Algiers, 2019. Super 8 to digital, 4:52 min.\n\n\t\nFragments from Algiers (2019) is a four-minute Super 8 film that stemmed from an encounter with my mother\u2019s archive from her year in Algeria in the 1970s. \nThis piece inaugurated my multi-year research-based project about the first Third World Filmmakers Meeting, held in Algiers in 1973.\nThe work does not attempt to reconstruct history in a linear sense, but to reactivate the textures of what was left behind: folded letters, envelopes, official stamps, credentials, photographs, and clippings.\nFilmed in black and white, the camera hovers and moves restlessly across these surfaces, too quickly to permit reading, privileging material presence over informational content. \nThe archive is treated less as evidence than as a living field of affect and memory. A single letter, subtitled on screen, anchors the work: a note from filmmakers Jorge Giannoni and Susana Sichel in 1974. Writing from Buenos Aires, they describe the challenges of sustaining the momentum of the Third World Filmmakers Meeting held in Algiers the previous year. The correspondence evokes a larger collective project: an unfinished documentary on anti-colonial struggles that my mother was meant to help realize, but which never came to be.\n\n\n\n"},{"title":"Only a truncated and Imaginary Vision","link":"https:\/\/amengualcarmen.com\/Only-a-truncated-and-Imaginary-Vision","pubDate":"Sat, 28 Dec 2019 03:23:57 +0000","guid":"https:\/\/amengualcarmen.com\/Only-a-truncated-and-Imaginary-Vision","description":"\n\tWORKS\n\nOnly a Truncated and Imaginary Vision (2019)\n\nThis installation forms part of Fragments from Algiers, a series of works investigating the first Third World Filmmakers Meeting, held in Algiers in 1973. At its center, a still image of the Sahara desert, unearthed in the filmmakers\u2019 archive, is projected through a peephole, forcing the viewer into an intimate yet partial encounter. The image looms within the exhibition space like a fragment of memory, an apparition both concrete and elusive.\n\nAccompanying the projection is a sound composition by the artist that layers and interlaces cicada calls recorded across different continents. The cicada\u2019s voice functions as metaphor: a signal of generational awakening after long periods of dormancy, echoing the spirit of Third World solidarity that animated the 1970s. At the same time, its repetitive cadence recalls the mechanical rhythm of a film projector, collapsing natural and technological sound into one.\n\nThrough this interplay, image and sound conjure the fragility and persistence of unfinished histories. The work suggests the sensation of a mirage, half-seen, both real and imagined, while reflecting on the ever-open possibility of unearthing collective dreams and revolutionary projects that remain latent.\n\n\nPresented in 2019 at Biquini Wax ESP, Mexico City, in an exhibition organized by Kirsten Mairead Gill.\n\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/2743b7246189b435d4ef8bbd8762c85f9f90853ffaef59506f6be4f9833d836c\/Port_Tropes_2020.jpg\")
\nCarmen Amengual, Only a Truncated and Imaginary Vision, Digital projection. Installation view, Biquini Wax ESP, in Mexico City, 2019\n\nCarmen Amengual, Cicadas # 1: Mirage - Haunting. Sound, 56 min. 2019(5 min. excerpt)\n![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/37341e21a3d6997f7aba36f1f750ce9529afede605004e9d43a6919cc4597771\/BW1_Cicadas_2018.png\")
\nCarmen Amengual, Only a Truncated and Imaginary Vision, Digital projection. Installation view, Biquini Wax ESP, in Mexico City, 2019\n\t![](\"https:\/\/freight.cargo.site\/w\/1000\/i\/49409e55b9fb08fa7709403cb8d97bb76240f313c701e8888cabe8301168faf7\/BW2_Cicadas_2019.png\")
\nCarmen Amengual, Only a Truncated and Imaginary Vision, Digital projection. Installation view, Biquini Wax ESP, in Mexico City, 2019\n\n\n\n"}]}}![](\"https:\/\/freight.cargo.site\/t\/original\/i\/300ffee319dab3959ffe88e315c262711eee167a14f4fce7d5e9855f0fb82a28\/Screen-Shot-2020-01-20-at-7.02.32-PM.png\")
\n\n\nRESIDENCY\nArtist in residence at SOMA Summer 2019, Mexico City\n\nPANEL DISCUSSION\nLyric Poetry is Dead. Book release and panel discussion, with Ezequiel Zaidenwerg, Carmen Amengual and Robin Meyers. Berl's Brooklyn Poetry Shop, Brooklyn, NY\n\nRESIDENCYWill be participating at the 2019 season of the Mountain School of Arts, Los Angeles\n\n\nSCREENING\nMarch, 257:30 PM\nScreening & live reading at The International Expanded Field, at Human Resources, Los Angeles. Organized by Gelare Khoshgozaran and Jimena Sarno.\n\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/831e7f4e4e8f6af8df6590cdce37c878bdb091231b63aee03502311c25b6ab5a\/Screen-Shot-2020-01-20-at-6.43.15-PM.png\")
\n\n\n2018\n\nEXHIBITIONThe tenuous arithmetics of kinship is opening this Thursday at table, Chicago\n\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/90fec3088ec97c28cf50ef1a80d0474dbeb4aa92436b3e88feb9ab4bee36b210\/Table-Invite-Final.jpg\")
\n\nEXHIBITION\n\nThe Ages opens this Saturday, June 23rd. at 5pm\nMirasol 1370, Los Angeles\n\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/5b9ec0efe8e235313284243f77244afd67560bd23bdc6b123726e530b692d527\/Screen-Shot-2018-06-17-at-1.08.16-PM.png\")
\n\t\n\n\n\t2017\n\nPANEL\nOctober 22\nThe Words of Others. Book launch and panel discussion\nRuth Est\u00e9vez, director of the gallery at REDCAT, and curator of the exhibition The Words of Others: Le\u00f3n Ferrari and Rhetoric in Times of War, will lead a discussion with Jen Hofer, one of the Antena-affiliated translators of the book, and Carmen Amengual, researcher, about the process behind the making of this piece, as well as the practice of collage as a political strategy in the work of Ferrari, and in the broader context of the 1960s and 1970s.\nREDCAT\n\n\nPERFORMANCE\nSeptember 16\n1-8 pm\nI will be participating in the reading-performance The Words of Others (Palabras ajenas) by Le\u00f3n Ferrari at REDCAT, Los Angeles\nCURATORIAL\nLATlab presents\nI Come From Where the Palm Tree Grows\nOrganized by Molly Surazhsky\nJune 16th\n7-10 pm\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/f19f7fbfc508edbcfa7cae947fb1b4bfc06c7939e7ba6fa29ce5c34328bd3131\/Screen-Shot-2020-01-20-at-11.07.37-PM.png\")
\n\n\nCURATORIAL\nLATlab presents\nJuliana Luj\u00e1n and Julio Orta\nFriday, April 14th\n7-10 pm\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/1da45d989a364d226db719d842cfaf9263c25b6905e4798d8a23b8527ebe7f17\/Screen-Shot-2020-01-20-at-11.00.13-PM.png\")
\n\n\n2016\nRESIDENCY\nArtist in Residence, CalArts REEF Residency, Maker City LA\n\n\nGROUP EXHIBITION\nExit Interview, CalArts MFA exhibition\nJune 25, 6-9 pm \nHuman Resources, Los Angeles\n\n\n\n\n\n\t\n\n"},{"title":"CONTACT","link":"https:\/\/amengualcarmen.com\/CONTACT","pubDate":"Tue, 24 Dec 2019 03:22:08 +0000","guid":"https:\/\/amengualcarmen.com\/CONTACT","description":"CONTCAT\nCarmen Amengual is an artist based in New York and Los Angeles. For inquiries or to request additional information, please email:\ncaramengual@gmail.com\n\n\n\n"},{"title":"Bio \/ CV","link":"https:\/\/amengualcarmen.com\/Bio-CV","pubDate":"Tue, 24 Dec 2019 03:22:42 +0000","guid":"https:\/\/amengualcarmen.com\/Bio-CV","description":"\n\tBIO & CV\n\nCarmen Amengual (Buenos Aires, 1979) is a multidisciplinary artist, filmmaker, and independent researcher. Her practice draws on fragile archives, micro-histories, and oral narratives to investigate how stories of resistance circulate and transform over time. Through experimental cinema, installation, and critical research, she activates incomplete or forgotten materials \u2014unrealized scripts, unfinished projects, and buried collective and individual dreams\u2014 situating them in the present and opening them to experiential dimensions capable of projecting new futurities.\n\nHer work engages with historical and family archives, as well as myths, oral accounts, and literature, to explore the intersections of political memory, biography, and history. Informed by feminist and anti-colonial methodologies, she examines the ruins of emancipatory cultural imaginaries and the forms of sociability, pedagogy, and friendship they sought to create. Her projects span film, sculpture, sound, text, and installation, unfolding layered narratives in which the historical and the speculative converge to reimagine the ties between past and future.\n\nIn recent years, Amengual has developed A Non-Coincidental Mirror, a film-research and installation project that reconstructs the legacy of the Third World Filmmakers Meetings (Algiers, 1973 \u2013 Buenos Aires, 1974) while revisiting an unrealized documentary project of the era. Its first phase, presented in a solo exhibition at Smack Mellon, New York (2024\u201325), received the Creative Capital Award (2024), two consecutive Graham Foundation grants (2023\u201324), and a research fellowship from the Foundation for Contemporary Arts (2025).\n\nShe has participated in programs and residencies including the Whitney Independent Study Program (2021\u201322), the Vera List Center for Arts and Politics Fellowship (2022\u201324), and the Cit\u00e9 Internationale des Arts, Paris (2025). Her work has been shown in North America (Smack Mellon, Artists Space, New York; table, Chicago; Human Resources, Los Angeles; Bikini Wax, Mexico City), Europe (Silent Green, Berlin; Cit\u00e9 Internationale des Arts, Paris), and Africa (American University, Cairo). She holds a BA in Comparative Literature from the University of Buenos Aires and an MFA in Visual Arts from CalArts.\n\n\n\n\t\n\n\n\tEDUCATION\n2021\u20132022\u2003Whitney Museum of American Art, Independent Study Program, Studio Program, New York, US\n2016\u2003MFA, Art Program, California Institute of the Arts, Valencia, California, US\n2014\u2003BA, Comparative Literature, University of Buenos Aires, Argentina\nGRANTS, AWARDS & RESIDENCIES\n2025\u2003\nAwardee, Foundation for Contemporary Arts, Research Grant, USArtist-in-Residence, Cit\u00e9 Internationale des Arts, Paris, FR2024\u2003Awardee, Creative Capital, New York, USGrantee, Foundation for Contemporary Arts, Emergency Grant, US\n\nGrantee, Center for Cultural Innovation, Quick Grant, Los Angeles, US\nGrantee, Graham Foundation, Production & Presentation Grant to Individual Artists, Chicago, US\nArtist-in-Residence, Rhizome, Algiers, DZ\nGrantee, Prospect Art, New Work Grant, Los Angeles, US\nArtist-in-Residence, Automata, Los Angeles, US\n2023\u2003Grantee, Graham Foundation, Research & Development Grant to Individual Artists, Chicago, US\n2022\u20132024\u2003Artist Fellow, Vera List Center for Arts and Politics, The New School, New York, US\n2021\u20132022\u2003Studio Fellow, Whitney Museum of American Art, Independent Study Program, New York, US\n2019\u2003Artist-in-Residence, SOMA Summer, Mexico City, MXArtist-in-Residence, The Mountain School of Arts, Los Angeles, US\n2016\u20132017\u2003Artist-in-Residence, CalArts REEF Residency, Maker City LA, Los Angeles, US\n2015\u2003Fellow, CalArts Research Fellowship, California Institute of the Arts, Valencia, US\nGrantee, Dean's Reserve Grant, California Institute of the Arts, Valencia, US\nGrantee, CalArts Grant, California Institute of the Arts, Valencia, US\n2014\u2003Grantee, Dean's Reserve Grant, California Institute of the Arts, Valencia, US\nGrantee, CalArts Grant, California Institute of the Arts, Valencia, US\n2005\u2003Awardee, Premio Centenario, Primer Sal\u00f3n de Artes Visuales Prilidiano Pueyrred\u00f3n, Museo Quinta Trabucco, Buenos Aires, AR\n\n\n\n\tSOLO EXHIBITIONS\n2024\u201325\u2003 A Non-Coincidental Mirror, Smack Mellon, Brooklyn, New York, US\n2019\u2003Only a Truncated and Imaginary Vision, Biquini Wax EPS, Mexico City, MX\n2018\u2003The Tenuous Arithmetic of Kinship, table, Chicago, US\nThe Ages, Dread Lounge, Los Angeles, US\n2016\u2003Playing Around Her, Mint Gallery, California Institute of the Arts, Valencia, US\n2015Other Words, Other Worlds, Gallery D300, California Institute of the Arts, Valencia, US\nSELECTED GROUP EXHIBITIONS2025\u2003Non-Aligned Visions, Public Trust, Philadelphia, US\n\n2023\u2003Sentient, Office Hours, California State University Dominguez Hills, Carson, US\n2022\u2003Everything Is Common, Whitney ISP 2021\u201322, Artists Space, New York, US\nKinetic Lullaby, NYSS Dumbo Gallery, Brooklyn, US\n2020\u2003Artist Run Chicago 2.0 (with Kyle Bellucci Johanson), Hyde Park Art Center, Chicago, US\n2019\u2003The International Expanded Field, Human Resources, Los Angeles, US\n2016\u2003Exit Interview, Human Resources, Los Angeles, US\n2015\u2003Summer Recital: A Sculpture Exhibition, Main Gallery, California Institute of the Arts, Valencia, US\nMid-Residency Exhibition, Main Gallery, California Institute of the Arts, Valencia, US\n2014\u2003Six Against the Cyclops, E.D. Freeman Gallery, Los Angeles, US\nWorks on Paper, Antenna Studio, Los Angeles, US\nCuriouser & Curiouser, Art Division, Los Angeles, US\n2005\u2003Premio Centenario, Museo Quinta Trabucco, Buenos Aires, AR\n\tSCREENINGS (selected)\n2025\u2003Non-Aligned Visions, Public Trust, Philadelphia, US\nCin\u00e9 Club, Cit\u00e9 Internationale des Arts, Paris, FR\nA Non-Coincidental Mirror, e-flux Screening Room, Brooklyn, New York, US\n2024\u2003Tiny Sketches for a Piece on Language and Power, Prospect Art, Los Angeles, US\nFootprints of the Forgotten, Los Angeles Filmforum, 2220 Arts + Archives, US\n2019\u2003The International Expanded Field, Human Resources, Los Angeles, USEcho Park Film Center, Los Angeles, USPRESENTATIONS & PANELS 2025Visible Evidence, conference. Center for Advanced Research in Global Communication Annenberg School for Communication, University of Pennsylvania SUR O NO SUR. International Conference. University of Valpara\u00edso. School of Film Studies. Chile A Non-Coincidental Mirror: Book release. Public conversation between Yasmina Price and Carmen Amengual moderated by Eriola Pira. Carmen Amengual and Soyoung Yoon in conversation: E-flux screening room. New York. 2024 Footprints of the Forgotten, (speaker). Los Angeles Filmforum. 2220 Arts + Archives, Los Angeles. 2023 Film-Act: Third Cinema and its legacies, (speaker), American University in Cairo, Egypt. Film Undone. Elements of a Latent Cinema, (speaker) Silent Green & Film Arsenal, Berlin.2022 Vera List Center for Arts and Politics 2022 Forum, (speaker). The New School, New York. 2020 Adelita Husni Bey and Simon Leung in conversation (Presenter and organizer). REDCAT, Los Angeles2019 Lyric Poetry is Dead. Book release and panel discussion, with Ezequiel Zaidenwerg, Carmen Amengual and Robin Meyers. Berl's Brooklyn Poetry Shop, Brooklyn, NY2017 In search of The Words of Others. Le\u00f3n Ferrari, The Words of Others. panel discussion with Ruth Est\u00e9vez, Carmen Amengual and Jen Hoffer. REDCAT, \nLos AngelesMedia & Democracy: From the Vietnam War to the Consolidation of \u201cAlternative Facts\u201d in the Digital Era: Marc Cooper, Robert Scheer and Suzi Weissman in conversation. (Organizer)REDCAT, Los Angeles2016 Arts and Politics. A Latin American perspective. LATlab Laboratory for Latin American Art\/Thinking. CalArts REEF Residency, Maker City LA, Los Angeles\n\t\nCURATORIAL & ORGANIZING (selected)\n2025\u2003\nCo-curator, To Trace the Line Where Your Body Cut the Air, Smack Mellon, Brooklyn, US\n2021\u2003\nCurator, Aria Dean: Suite!, Gallery at REDCAT, Los Angeles, US\n2020\u2003\nAssistant Curator, Inside Out & Upside Down: Posters from CalArts 1970\u20132019, REDCAT, Los Angeles, US\nCo-Curator, 50+50: A Creative Century from Chouinard to CalArts, REDCAT, Los Angeles, US\n2017\u2003\nAssistant Curator & Research Associate. The Words of Others: Le\u00f3n Ferrari and Rhetoric in Times of War, REDCAT \/ PST:LA\/LACo-Director LATlab, Laboratory for Latin American Art & Thinking. Los Angeles, USTEACHING EXPERIENCE\n2025\u2003Guest Lecturer, MFA Curatorial Practice, School of Visual Arts, New York, US\n2022\u2003Visiting Lecturer, MFA, Parsons School of Art, The New School, US\n2020\u2003Faculty, Exercises in Close Reading: Text\/Space, The Southland Institute, Los Angeles, US\n2019\u2003Faculty, The Southland Institute, Los Angeles, US\n2018\u2003Visiting Artist Lecture, School of the Art Institute of Chicago, USVisiting Faculty, CalArts Winter Session, Seminar: The Idea of Latin America\n2016\u2003Graduate Assistant, Thomas Lawson: Thinking about Painting, CalArts, US \n\n\tPRESS & PUBLICATIONS (selected)\n2025 \nA Non-Coincidental Mirror Catalogue, Vera List Center, New York, US\n\u201cThe Voice of the Wet Concrete: A Conversation\u201d (with Soyoung Yoon), e-flux Notes, Feb 2025AK Latif. \"From Buenos Aires to Beirut: Circuits of Cinematic Solidarities\". Senses of Cinema, May 2025.\n\n\n2024\u2003\n\u201cThe 10 Exhibitions to See in December,\u201d ArtReview, Dec 2024\u2003\u2003\u2003\nBetween Illusion and Revolution, in Film Undone. Elements of a Latent Cinema, Archive Books, Berlin\u2003\u2003\u2003\nRevista Concreta #22 (Contributor), Editorial Concreta, Spain\n\n2021\u2003\u201cUnseen in the Archives: Inclusion and Omission,\u201d East of Borneo, Jan 2021\n\n2019\u2003Kirsten Mairead Gill, \u201cOnly a Truncated and Imaginary Vision,\u201d Island Island\n\n2018\u2003Lyric Poetry Is Dead, drawings by Amengual, Cardboard House Press, NY\n\n2017\u2003\u201cIntroduction: The Words of Others\u201d (with Ruth Est\u00e9vez), in Le\u00f3n Ferrari: The Words of Others, REDCAT \/ X Artists\u2019 Books, Los Angeles\n"},{"title":"A Non-coincidental Mirror","link":"https:\/\/amengualcarmen.com\/A-Non-coincidental-Mirror","pubDate":"Tue, 23 May 2023 22:37:18 +0000","guid":"https:\/\/amengualcarmen.com\/A-Non-coincidental-Mirror","description":"A Non-Coincidental Mirror\n\nFILM RESEARCH ONGOING \n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/fcb9039dbdd1c33cf1278eb72d2a446ce930a8cd7117d8065afadfb3cd3a140f\/2024_AMENGUAL_image01.jpg\")
Carmen Amengual, A Non-coincidental Mirror. 2024. Still from film. 16 mm to digital.\n\n\nA Non-Coincidental Mirror is a film-research project that fabricates a memory of a forgotten event: the Third World Filmmakers Meetings. Held in Algiers in 1973 and later in Buenos Aires in 1974, the gatherings brought together filmmakers from Africa, Latin America, and the Arab world to discuss the role of cinema in anti-colonial struggles, to support one another\u2019s work, and to strategize how to make films under conditions of censorship, exile, and scarcity. Out of these meetings emerged the plan to produce an educational documentary about African liberation movements, intended for a Latin American audience. That film was never realized.\n\n\n\t![](\"https:\/\/freight.cargo.site\/t\/original\/i\/bc0a6e68a6691b0c941b80a2342a7675f4b99d17e13702e4b8bad34c5f793618\/PXL_20241211_173214145.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. \n\n\n\tThis project imaginatively reconstructs this unrealized venture through experimental storytelling, documentary forms, and installation strategies. Hybridizing the traditions of experimental and political cinema, A Non-Coincidental Mirror recontextualizes the Meetings as a key, though overlooked, episode in the history of Global South solidarities.\n\nThe work is grounded in an archive the artist inherited from her mother, who collaborated with the organizers of the Meetings on the unfinished documentary project. From this micro-historical perspective, the research opens onto a larger story: one of solidarity networks, cultural ambition, and the historical forces that determined what could and could not be made. \n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/74bedb58b658e7ab84ad76cfde698567cfcef9d2ea4af727d43b6654afcc3852\/241211EFrossard_SMellon_CAmengual_6986b.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. Photo by Etienne Frossard\nBy weaving together archival research, oral histories, and a critical reading of Third Cinema films and manifestos, the project reconstructs not only events but also the dreams and contradictions that animated them.\n\n\n\n\tAnchored in the ethos of radical filmmaking, the project is experimental in form and method, probing the ghostly presences of the past and reactivating their emancipatory potential for present and future generations.\nAt the core of Third World internationalism was a fragile but powerful optimism: the hope of finding a mirror in the emancipatory struggles of others. This project traces both its reach and its limits, offering a lived history of ideas that reverberates into present debates on culture and politics. It reflects on the revolutionary force of friendship and on the delicate networks these cultural agents sought to weave\u2014rooted in the belief that cinema could enable oppressed peoples not only to recognize one another, but also to imagine and work together toward emancipation.\n\t![](\"https:\/\/freight.cargo.site\/t\/original\/i\/95f91fe660d829ca9e394e2fb6867b89ff955d31dda4ebe81e290a613180b662\/Amengual_Latent-Cinema_3.jpg\")
\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/220dde62c161f017cefd849c575a0c5d49a3f01d97dd42f307fa10b6d290e3ed\/241211EFrossard_SMellon_CAmengual_7042b.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. Photo by Etienne Frossard\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/5f82013f1fff062f22e075b23af331498a72da507d11beca626ea1b74b86cfbf\/241211EFrossard_SMellon_CAmengual_7009b.jpg\")
Carmen Amengual, A Non-coincidental Mirror, Three-channel video installation. Exhibition view, Smack Mellon, Brooklyn, NY, 2025. Photo by Etienne Frossard"},{"title":"Kinetic Lullaby PR","link":"https:\/\/amengualcarmen.com\/Kinetic-Lullaby-PR","pubDate":"Thu, 12 Jan 2023 19:44:43 +0000","guid":"https:\/\/amengualcarmen.com\/Kinetic-Lullaby-PR","description":"KINETIC LULLABY \nJUNE 9 -JULY 16 \nNYSS DUMBO GALLERY 20 JAY STREET # 307 BROOKLYN, NY 11201 \n\nCARMEN AMENGUAL, \u1ecdM\u1ecdLOL\u00da REFILWE BAB\u00c1T\u00daND\u00c9, LIA KUCERA MERCEDES MATTER, DANA NGUY.N, FERNANDO MANUEL OLIVIA MCKAYLA ROSS, SAKI SATO. \n\nCO-CURATED BY ALISON CAUSER & DARLA MIGAN @VARIABLETERMS \n\nWhat does it mean to be reared in a world that demands we violently tear ourselves into bits and bytes, shattering the embodied psyche\u2019s longing for memory and rest? How can we endure the ceaseless cutting up of self\/soul delineated by categories intended to kill off our capacity for unalienated pleasure and political action? \nThe eight artists in KINETIC LULLABY work in the mediums of sound, printed word, painting, sculpture, and lens-based practices to dare to remember and dream, to code mytho-logical powers, to acknowledge tortuous labors as well as spiritual holism. Briefly this summer, we are holding our fragments together. \n\nIn the midst of our ongoing global pandemic we remain captive to genocidal logics evidenced by vaccine apartheid, new wars, and the assault on womxn\u2019s reproductive rights. There has also been a noticeable rise in rates of premature death correlated with increased isolation, general anxiety about the future, and the growing awareness of environmental precarity demanding our attention. Vehicular accidents are killing an overwhelming number of Black pedestrians in the U.S.; just as rural farmers worldwide succumb to hopelessness due to economic inflation; and unprecedented rates of suicide (among children ages ten to fourteen) shock the mental health industry. \n\nThe queer Black Carribean analysis of artist and cyberdoula Olivia McKayla Ross searches for a way to make it make sense. Through pop choreographies her desire takes on mythological power inspired by the relationship between electronic video, sanity, and vanity. Deep fantasy means instagram filters, glamour magic, and mirrors, but also anxieties of video transmission: immersion, absorption, surveillance, and control. The poet-programmer\u2019s sense-making moves from the underwater\/under-seen archipelago, her own marronage from the algorithm\u2019s caged reduction. \n\nFernando Manuel\u2019s Recordando el Alma allegorically embodies the trace of a spiritual practice by documenting childhood memories that would otherwise be irretrievable without the use of their camera. By unifying the whispering past with bodily abstraction, the artist invokes forms emerging between spiritual ecstasies and a mostly forgotten suburban plaza in Hialeah. \n\nMy studio visit in upstate New York with artist Saki Sato overwhelmed me with feelings that surfaced as I gently held the artist\u2019s small sculptures. Recalling a certain animated character buried deep in my own subconscious made me feel exposed yet safe. I was transported back to memories of being a latchkey kid at age ten or eleven\u2013still young enough to watch PBS cartoons, but also old enough to look forward to afternoon talk shows like Oprah and Ricki Lake. Sato\u2019s sculptures embrace the spirit of a time just before racing to the dial-up modem became our only after-school activity. \n\nThe surround of the ongoing emergency only heightened by the global pandemic is part of the long dur\u00e9e of what Hortense Spillers calls the \u201csteady state\u201d of crisis as opposed to thinking crisis as a state of exception.1 This means that regimes of (neo)colonialism and (neo)liberalism sliding into new fascisms, have only benefited from pandemic conditions. In 1963 the abstract expressionist painter and New York Studio School founder Mercedes Matter wrote: \u201cToday, it is possible for a student to go through art school and gain an acute perception of \u201cwhat is going on,\u201d a fairly intelligent grasp of the situation, and yet never have departed a single step from his original na\u00efvet\u00e9 of vision\u2026[B]ut ironically, while handing him the gift of freedom with one hand, the modern school snatches away from him with the other the circumstances in which this exacting labor of self-confronting can take place: the time to work.\u201d2 By time to work, I hear Matter (still) calling our attention to practice\u2013 specifically, the time needed to develop the skills and patience necessary to discover what is most important about and indistinguishable between art and life. \n\nIn Fingerprint of the Universe, conceptual artist Dana Nguy.n carves frames from the wood of a tree called by two names on either side an ocean important to her life story. To hold and honor her separated family as a first\u2013gen kid, a ritual encircling of imperial and personal histories occurs-\u2013 connecting hands and fingers to tree rings and galaxies. Fire has also been an important source of inspiration for the artist. Witnessing life turning to stardust, Nguy.n creates an altar-like situation with a rare black beach sand of Norcal freeing themselves to love on their own terms. \n\nLia Kucera\u2019s mixed media exploration of matrilineal inheritances meditates on one of the most intimate relationships: the formation of her attitude towards her own body. In the artist\u2019s recent practice, inspired by Latoya Ruby Fraizer\u2019s The Notion of Family series (2001-14), Kucera went back to her own family home to physically build a symbolic gift of bodily agency. The artist's former high school campus sets the stage of public address and for recalibrating mother daughter bonds. \n\nCarmen Amengual\u2019s mobile sculpture considers how extractive labor and attention economies exhaust the political capacities of the body and transform it into a subject and object of consumption. The piece is a meditation on the longing for a political capacity for action that would allow the body to recover from exhaustion. Through its textual component \u201cUna fuerza que venga y me una, una voz que articule mis demandas,'' the piece invites the viewer to consider what forces must be conjured to transform this passive position of consumption to one of action and intervention. \n\nThe artist \u1ecdm\u1ecdlol\u00fa refilwe bab\u00e1t\u00fand\u00e9\u2019s for d.love arranges song, spoken word, and collaged moving image. Unfolding like a dreamy ode to resting in nature, we witness the tops of tall trees superimposed with streams of flowing river water. Foamy ocean shorelines swirl or are seen running vertically, then horizontally on screen. Paired sunsets appear at different moments and angles, perhaps from different evenings and in multiple locations as the artist embraces the whole sky\u2019s fiery orange and indigos. How often we forget the brilliance of foliage, moon, and water or that there are countless ways to love. A prayerful poem rises from the language of a saved voicemail of a friend, sliding bass strums and the singer\u2019s voice, the most ancient instrument, opens dimensions to let in grace. Across multiple sense registers, bab\u00e1t\u00fand\u00e9's video practice sounds out an attunement for grounding ourselves right here, right now. \n\n\n1 Hortense Spillers, \u201cTime and Crisis: Questions for Psychoanalysis and Race,\u201d Journal of French and Francophone Philosophy Vol. XXVI, No 2 (2018), 25-31. \n\n2 Mercedes Matter, \u201cWhat\u2019s Wrong with the U.S. Art Schools, ARTNEWS, 1963. \n\n\nCONTACT: DARLA@VARIABLETERMS.COM"},{"title":"Before my, your, her, his, our, your, their faces ","link":"https:\/\/amengualcarmen.com\/Before-my-your-her-his-our-your-their-faces","pubDate":"Tue, 10 Jan 2023 20:25:34 +0000","guid":"https:\/\/amengualcarmen.com\/Before-my-your-her-his-our-your-their-faces","description":"works\n\nBefore my, your, her, his, our, your, their faces\nDelante de mis, tus, sus, nuestros, vuestros, sus rostros2022\n\n\n\tAs with many countries in what is currently known as the Global South, 1973 was a pivotal year in Argentina. The return of General Per\u00f3n, after 17 years in exile and the prohibition of his party, generated big hopes among a very active and highly organized leftist movement. The hopes were short-lived. The September 11th coup in Chile, and Per\u00f3n\u2019s conservative turn quickly proved that Christian conservative alliances, and the definitive U.S. intervention in South America would ensure the prevention of any socialist developments in the region. \n\n\nBefore my, your, her, his, our, your, their faces is a three channel video installation that looks at this period based on a set of letters that the artist\u2019s mother received from friends while she was living in Paris, and later, in Algiers.\n \n\nThe voices in the letters discuss some of these major historical events - alongside personal matters. Their language depicts a complex landscape of affective textures, one that speaks of how subjective positions arose from a collision with historical events, and of how micro-political emancipatory drives intertwined with macro-political and collective movements.\n\nBy once again giving texture to these letters\u2019 language -through animation, songs and textual strategies- the piece is a reflection on the historical nature of our present. Through amplifying these voices\u2019 echoes, their hopes and contradictions, it seeks to articulate the historical riddle they were entangled with. Its aftermath is our present. May the crumbles of their dreams give us a sense of orientation.\n\n\t![](\"https:\/\/freight.cargo.site\/t\/original\/i\/52333bf10f5ba914faee0addf96cb2e6db0684d46c17601509eeac95e3128c69\/Everything-is-common_Artists-Space_2022_64.jpg\")
Before my, your, her, his, our, your, their faces, 2022. Installation view. Everything is Common, Whitney ISP 2021-22 Studio Program Exhibition, Artists Space, New York, 2022.\n Image credit: Steven Cottingham\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/859ef419b2e93a0e13dcfbc15bc439fc6ad3d55e7a2f1b70a4e974812113a335\/Tres-3T_Composite_Website.png\")
\nCarmen Amengual, Before my, your, her, his, our, your, their faces, 2022 Stills from video.\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/045eb5d6d68e2e5f29ae98b4a2c02c6e422f8a6936fc77f44f46df3da07a60d3\/Screen-Shot-2023-01-10-at-1.13.09-PM.png\")
\n Before my, your, her, his, our, your, their faces, 2022. Exhibition brochure.\n\n\n\n\t\n\t\n\t\n\n\n\n\n\t\n\t\n\t\n\n\t\n\n"},{"title":"Una fuerza que venga","link":"https:\/\/amengualcarmen.com\/Una-fuerza-que-venga","pubDate":"Tue, 10 Jan 2023 20:25:22 +0000","guid":"https:\/\/amengualcarmen.com\/Una-fuerza-que-venga","description":"WORKS\n\nUna fuerza que venga y me una,\nuna voz que articule mis demandas2022\n\t\nInstallation for the group exhibition Kinetic Lullaby, curated by Alison Causer and Darla Migan at NYSS Dumbo Gallery, Brooklyn\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/13e51a1188d411def0f49f57bc8c84fa58d4b4d5112411d15d25c1b388150d4c\/Screen-Shot-2023-01-31-at-9.32.15-PM.png\")
\nUna fuerza que venga y me una, May a force come and bring me together, 2022, installation view. Kinetic Lullaby, NYSS Dumbo Gallery, Brooklyn.\n\n\t\nExcerpt from curatorial text \n[full text here]What does it mean to be reared in a world that demands we violently tear ourselves into bits and bytes, shattering the embodied psyche\u2019s longing for memory and rest? How can we endure the ceaseless cutting up of self\/soul delineated by categories intended to kill off our capacity for unalienated pleasure and political action? The eight artists in KINETIC LULLABY work in the mediums of sound, printed word, painting, sculpture, and lens-based practices to dare to remember and dream, to code mytho-logical powers, to acknowledge tortuous labors as well as spiritual holism. Briefly this summer, we are holding our fragments together. [...]\nCarmen Amengual\u2019s mobile sculpture considers how extractive labor and attention economies exhaust the political capacities of the body and transform it into a subject and object of consumption. The piece is a meditation on the longing for a political capacity for action that would allow the body to recover from exhaustion. Through its textual component \u201cUna fuerza que venga y me una, una voz que articule mis demandas,'' the piece invites the viewer to consider what forces must be conjured to transform this passive position of consumption to one of action and intervention.\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/743ce0be5b15ff978a91c808cbf515ba772f217c7355e0fcae320cfddffb54a5\/Screen-Shot-2023-01-31-at-9.32.36-PM.png\")
Una fuerza que venga y me una, May a force come and bring me together, 2022, installation view. Kinetic Lullaby, NYSS Dumbo Gallery, Brooklyn."},{"title":"Fragments of Algiers","link":"https:\/\/amengualcarmen.com\/Fragments-of-Algiers","pubDate":"Tue, 24 Dec 2019 03:08:30 +0000","guid":"https:\/\/amengualcarmen.com\/Fragments-of-Algiers","description":"\n\tWORKS\nFragments from Algiers \n\n2019 \n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/b7e120dcf3bf1de434e76888c18f49611885b60402f3e3bc82fc0728ac6eab35\/Screen-Shot-2020-01-22-at-9.10.03-AM.png\")
Carmen Amengual, Fragments from Algiers, 2019. Super 8 to digital, 4:52 min.\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/2c55ef3af03dc5e43c893f3c43ebbaca4b95968475d2fe5be0e1245b923d98f1\/Screen-Shot-2020-01-22-at-9.11.23-AM.png\")
\nCarmen Amengual, Fragments from Algiers, 2019. Super 8 to digital, 4:52 min. \n\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/f54434454830d3b473d418c83401910409772fa66c5d3889b84677b9aaf2eac1\/Screen-Shot-2020-01-22-at-9.09.52-AM.png\")
\nCarmen Amengual, Fragments from Algiers, 2019. Super 8 to digital, 4:52 min.\n\n\t\nFragments from Algiers (2019) is a four-minute Super 8 film that stemmed from an encounter with my mother\u2019s archive from her year in Algeria in the 1970s. \nThis piece inaugurated my multi-year research-based project about the first Third World Filmmakers Meeting, held in Algiers in 1973.\nThe work does not attempt to reconstruct history in a linear sense, but to reactivate the textures of what was left behind: folded letters, envelopes, official stamps, credentials, photographs, and clippings.\nFilmed in black and white, the camera hovers and moves restlessly across these surfaces, too quickly to permit reading, privileging material presence over informational content. \nThe archive is treated less as evidence than as a living field of affect and memory. A single letter, subtitled on screen, anchors the work: a note from filmmakers Jorge Giannoni and Susana Sichel in 1974. Writing from Buenos Aires, they describe the challenges of sustaining the momentum of the Third World Filmmakers Meeting held in Algiers the previous year. The correspondence evokes a larger collective project: an unfinished documentary on anti-colonial struggles that my mother was meant to help realize, but which never came to be.\n\n\n\n"},{"title":"Only a truncated and Imaginary Vision","link":"https:\/\/amengualcarmen.com\/Only-a-truncated-and-Imaginary-Vision","pubDate":"Sat, 28 Dec 2019 03:23:57 +0000","guid":"https:\/\/amengualcarmen.com\/Only-a-truncated-and-Imaginary-Vision","description":"\n\tWORKS\n\nOnly a Truncated and Imaginary Vision (2019)\n\nThis installation forms part of Fragments from Algiers, a series of works investigating the first Third World Filmmakers Meeting, held in Algiers in 1973. At its center, a still image of the Sahara desert, unearthed in the filmmakers\u2019 archive, is projected through a peephole, forcing the viewer into an intimate yet partial encounter. The image looms within the exhibition space like a fragment of memory, an apparition both concrete and elusive.\n\nAccompanying the projection is a sound composition by the artist that layers and interlaces cicada calls recorded across different continents. The cicada\u2019s voice functions as metaphor: a signal of generational awakening after long periods of dormancy, echoing the spirit of Third World solidarity that animated the 1970s. At the same time, its repetitive cadence recalls the mechanical rhythm of a film projector, collapsing natural and technological sound into one.\n\nThrough this interplay, image and sound conjure the fragility and persistence of unfinished histories. The work suggests the sensation of a mirage, half-seen, both real and imagined, while reflecting on the ever-open possibility of unearthing collective dreams and revolutionary projects that remain latent.\n\n\nPresented in 2019 at Biquini Wax ESP, Mexico City, in an exhibition organized by Kirsten Mairead Gill.\n\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/2743b7246189b435d4ef8bbd8762c85f9f90853ffaef59506f6be4f9833d836c\/Port_Tropes_2020.jpg\")
\nCarmen Amengual, Only a Truncated and Imaginary Vision, Digital projection. Installation view, Biquini Wax ESP, in Mexico City, 2019\n\nCarmen Amengual, Cicadas # 1: Mirage - Haunting. Sound, 56 min. 2019(5 min. excerpt)\n![](\"https:\/\/freight.cargo.site\/t\/original\/i\/37341e21a3d6997f7aba36f1f750ce9529afede605004e9d43a6919cc4597771\/BW1_Cicadas_2018.png\")
\nCarmen Amengual, Only a Truncated and Imaginary Vision, Digital projection. Installation view, Biquini Wax ESP, in Mexico City, 2019\n\t![](\"https:\/\/freight.cargo.site\/t\/original\/i\/49409e55b9fb08fa7709403cb8d97bb76240f313c701e8888cabe8301168faf7\/BW2_Cicadas_2019.png\")
\nCarmen Amengual, Only a Truncated and Imaginary Vision, Digital projection. Installation view, Biquini Wax ESP, in Mexico City, 2019\n\n\n\n"}]}}