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'''Claudia Joskowicz''' is a Bolivian visual artist who has worked primarily with video. Her work depicts the social and political reality of her native country, articulating historical and current events to extract them from their initial context and then transfer them to a digital medium, generating another artistic perspective.
'''Claudia Joskowicz''' is a Bolivian visual artist who has worked primarily with video. Her work depicts the social and political reality of her native country, articulating historical and current events to extract them from their initial context and then transfer them to a digital medium, generating another artistic perspective.


==Biografía==
==Biography==


Nació en 1968 en Santa Cruz de la Sierra, Bolivia. En 1990 realizó un programa de intercambio en la Ecole D’Architecture-París Villemin en París. Viajó tiempo después a Estados Unidos para estudiar Licenciatura en Arquitectura en la Universidad de Houston, Texas, donde obtuvo su título en 1991. Durante la década de 1990 participó en pequeñas exposiciones colectivas mostrando su trabajo audiovisual. En 1998 recibió el Jack Goodman Award for Art & Technology de la Universidad de Nueva York. En el año 2000 se graduó de la Maestría en Artes de la misma universidad, donde presentó su primera exposición pública a partir de su trabajo de tesis.  
Joskowicz was born in 1968 in Santa Cruz de la Sierra, Bolivia. In 1990, she participated in an exchange program at the Ecole d'architecture de Paris-Villemin in Paris. She later traveled to the United States to study for a bachelor of architecture degree at the University of Houston, Texas, where she graduated in 1991. During the nineties, she participated in small group exhibitions showing her audiovisual work. In 1998, she received the Jack Goodman Award for Art & Technology from New York University. In 2000, she graduated from the master of arts program at the same university, where she presented her first public exhibition based on her thesis work.  


En ese mismo año, la artista participó de la residencia AIM Program del Museo de Artes del Bronx en Nueva York y tres años más tarde, en el 2003, hizo parte de otra residencia artística, la Workspace: The Woolworth Building Residency en el Lower Manhattan Cultural Council de Nueva York. En el año 2005 obtuvo el primer premio en fotografía digital modificada del Centro Simón I. Patiño de Cochabamba, Bolivia. Fue becaria de la J. William Fullbright Scholar en investigación y docencia en Bolivia durante el 2009. Dos años más tarde, en el 2011, ganó la beca John Simon Guggenheim Foundation Fellowship en el área de cine y video y en el 2014 estuvo presente en la Comisión para artistas de media carrera de la Fundación Cisneros Fontanals en Miami.
That same year, Joskowizc participated in the AIM Fellowship residency at the Bronx Museum of the Arts in New York. Three years later, in 2003, she was part of another artist residency, Workspace: The Woolworth Building Residency at the Lower Manhattan Cultural Council in New York. In 2005, she won first prize in modified digital photography from the Simon I. Patiño Center in Cochabamba, Bolivia. She was a J. William Fulbright Scholar in research and teaching in Bolivia during 2009. Two years later, in 2011, she won the John Simon Guggenheim Foundation Fellowship in film and video and in 2014 she was present at the Commission for Mid-Career Artists by the Cisneros Fontanals Foundation in Miami.


Paralelamente a su participación académica e investigativa en artes, ha ejercido la docencia en Estados Unidos y Bolivia, destacando su trayectoria profesoral en el Departamento de Artes Plásticas Steinhardt de la Universidad de Nueva York donde dictó las áreas de video y multimedia, desde el 2006 hasta el 2015. En el 2013 fue docente de la Fundación Simón I. Patiño en Santa Cruz de la Sierra. Desde el 2007 y hasta el 2015 hizo parte del comité asesor del Instituto Hemisférico de Performance y Política HEMI de la Universidad de Nueva York y desde el 2017 ha sido profesora asistente del Departamento de Arte del Wellesley College en Massachussets<ref>CV de Claudia Joskowicz.http://joskowicz.com/es/cv-es/</ref>.
Parallel to her academic and research participation in the arts, she has taught in the United States and Bolivia. Particularly notable was her teaching career in the Steinhardt Department of Visual Arts at New York University where she taught video and multimedia from 2006 to 2015. In 2013, she taught at the Simon I. Patiño Foundation in Santa Cruz de la Sierra. From 2007 to 2015, she was part of the advisory committee of the Hemispheric Institute of Performance and Politics (HEMI) at New York University. Since 2017 she has been an assistant professor in the Department of Art at Wellesley College in Massachusetts.<ref>Claudia Joskowicz’s CV
http://joskowicz.com/es/cv-es/</ref>


===Trayectoria artística===
===Artistic career===


Su carrera artística empezó cuando aún realizaba estudios superiores en la Universidad de Houston y en la Universidad de Nueva York. Ha participado en numerosas exposiciones individuales, empezando en el año 2000 cuando presentó Jenny and David en la Momenta Art Gallery de Brooklyn en Nueva York. En el 2002 presentó nuevamente esta obra, en el Video Project Room de Minneapolis. Durante el 2009 expuso dos obras en dos espacios artísticos de Bolivia: Music to Watch Dead Girls By en la Galería Kiosko de Santa Cruz de la Sierra y Recreaciones en el Museo Nacional de Arte de La Paz. Al año siguiente presentó su obra Round and Round and Consumed By Fire en el Thierry Goldberg Projects de Nueva York.  
Her artistic career began while she was still attending the University of Houston and New York University. She participated in numerous solo exhibitions, beginning in 2000 when she presented Jenny and David at the Momenta Art Gallery in Brooklyn, New York. In 2002, she presented this work again at the Video Project Room in Minneapolis. In 2009, she exhibited two works in two art spaces in Bolivia: Music to Watch Dead Girls By at Kiosko Gallery in Santa Cruz de la Sierra and Recreaciones (Recreations) at the National Art Museum in La Paz. The following year she presented her work Round and Round and Consumed By Fire at Thierry Goldberg Projects in New York.  


En el 2011 hizo parte de la VII Bienal Internacional de Arte SIART con su videoinstalación Intersecciones. Durante los años 2012 y 2013 expuso obras como Simpatía por el diablo, Intersecciones, Recreaciones y Evidencia en varios centros culturales de Bolivia y Estados Unidos. En el 2014 se presentó en el Project Space Galerija Gregor Podnar de Ljubljana en Eslovenia con What if Time stood still? Al año siguiente expuso su obra Recreaciones en el Die Ecke Arte Contemporáneo de Santiago de Chile. La obra Every building on Avenida Alfonso Ugarte – After Ruscha fue presentada en el 2016 en el Albright-Knox Art Gallery de Buffalo, Nueva York y How I Finally Lost My Heart en la LMAK Gallery en Nueva York durante el 2020.
In 2011, Joskowicz participated in the VII International Biennial of Art—SIART with her video installation Intersecciones (Intersections). In 2012 and 2013, she exhibited works such as Simpatía por el diablo (Sympathy for the Devil), Intersecciones (Intersections), Recreations (Recreaciones), and Evidencia (Evidence) in several cultural centers in Bolivia and the United States. In 2014, she presented What if Time Stood Still? at Project Space Galerija Gregor Podnar in Ljubljana, Slovenia. The following year she exhibited her work Recreations at Die Ecke Arte Contemporáneo in Santiago de Chile. The work Every Building on Alfonso Ugarte Avenue—After Ruscha was presented in 2016 at the Albright-Knox Art Gallery in Buffalo, New York and How I Finally Lost My Heart at LMAK Gallery in New York during 2020.


Respecto a exposiciones colectivas en las que ha participado, destacan la presentada en la Hubert Winter Gallery de Viena con la muestra “'''Zapping Zone'''” en 1999, la exhibición “'''Video X: Ten Years of Video at Momenta Art'''” de la Momenta Art Gallery en Brooklyn, Nueva York en el 2003 y “'''Beyond Images'''”, una video instalación presentada en la IV Bienal Internacional de Arte Mediático de Seúl, Corea del Sur en el 2006. Asimismo, expuso en el 2007 en Beijing con la muestra “'''Timeline: Human Speed & Technology Speed'''” del Korean Cultural Service. Ha expuesto en Colombia, en donde se destaca su intervención en el VII Encuentro del Instituto Hemisférico de Performance y Política en el Museo de Arquitectura de la Universidad Nacional de Colombia, sede Bogotá en el 2009 y durante el 45 Salón Nacional de Artistas “'''El revés de la trama'''” en la Galería Santafé en Bogotá durante el 2019. Asimismo, ha participado en numerosas muestras colectivas internacionales en Brasil, Ecuador, Dinamarca, Argentina, España y Alemania, entre otros países<ref>Ibídem.</ref>.
Notable group exhibitions include “'''Zapping Zone'''” in 1999, presented at the Hubert Winter Gallery in Vienna, “'''Video X: Ten Years of Video at Momenta Art'''” in 2003 at Momenta Art Gallery in Brooklyn, New York, and “'''Beyond Images'''”, a video installation presented at the IV International Media Art Biennial in Seoul, South Korea in 2006. Joskowicz also exhibited in 2007 in Beijing with the exhibition “'''Timeline: Human Speed & Technology Speed'''” by the Korean Cultural Service. She has exhibited in Colombia with her intervention in 2009 at the VII Encounter of the Hemispheric Institute of Performance and Politics at the Museum of Architecture at the National University of Colombia, Bogotá; during the 45th National Artists’ Salon; and with “'''El revés de la trama'''” (The Reversal of the Plot) at Santa Fé gallery in Bogotá during 2019. She has also participated in numerous international group shows in Brazil, Ecuador, Denmark, Argentina, Spain, and Germany, and other countries.<ref>Ibídem</ref>


===Características de su obra===
===Characteristics of her work===


La obra de Claudia Joskowicz ha estado inmersa en situaciones sociales, políticas y culturales, enfocadas desde un interés particular por abordar el trasfondo espacial de Bolivia, América Latina y el mundo y la realidad pasada y actual de estos territorios. Utiliza principalmente la videoinstalación y los medios digitales teniendo muy  presente el entorno donde se exhibe la obra. Asimismo es recurrente en sus obras los planos secuencia, inspirados por Andrei Tarkovski, uno de sus directores de cine favoritos. Aspectos como el tiempo y el espacio son decisivos en obras de índole cinematográfica y de video, pues su propósito como artista es mostrarle al espectador todo el contenido de sus obras en una duración y entorno estipulado<ref>Claudia Joskowicz: formas de ver. El Deber.
Claudia Joskowicz's work is immersed in social, political, and cultural situations, focused on a particular interest in addressing the spatial background of Bolivia, Latin America, and the world and the past and present reality of these territories. She mainly uses video installation and digital media, keeping in mind the environment where the work is exhibited. Also recurrent in her works are sequence shots, inspired by Andrei Tarkovsky, one of her favorite film directors. Time and space are decisive in cinematographic works, since the purpose as an artist is to present the spectator with the content in a given duration and environment.<ref>Claudia Joskowicz: formas de ver. El Deber.
https://eldeber.com.bo/19246_claudia-joskowicz-formas-de-ver</ref>. Situaciones históricas bolivianas, como la muerte del Che Guevara y sociales, como las protestas por la privatización de recursos naturales como el gas en una avenida de El Alto, área anexa a la capital boliviana, recrean situaciones que la artista busca y cambia constantemente, teniendo presente el trasfondo; esto representa una mirada sencilla pero radical de ver la situación<ref>Claudia Joskowicz. Guggenheim Museum. https://www.guggenheim.org/artwork/artist/claudia-joskowicz</ref>. De igual forma, este ejercicio artístico le permite a Claudia Joskowicz expresar el modo como se consume y se comprende la historia y cuál es la relevancia e injerencia de los medios de comunicación al momento de transmitir la información a diversos públicos.
https://eldeber.com.bo/19246_claudia-joskowicz-formas-de-ver</ref>Historical events in Bolivia, such as the death of Che Guevara, and social situations, such as the protests against the privatization of natural resources such as gas in El Alto, a town next to the Bolivian capital, recreate situations that the artist constantly seeks and alters, bearing the context in the background. This represents a simple but radical way of looking at the situation.<ref>Claudia Joskowicz. Guggenheim Museum.
https://www.guggenheim.org/artwork/artist/claudia-joskowicz</ref>Similarly, this artistic exercise allows Claudia Joskowicz to express how history is consumed and understood, and what the relevance of the media is when transmitting information to different audiences.


Con el propósito de documentar mejor los acontecimientos locales o nacionales, dependiendo de la obra y su contexto, es trascendental la objetividad artística, como una manera de releer ese pasado que ha tenido infinidad de significados y convergencias. Para esto, las obras de Claudia Joskowicz orbitan entre la ficción y la realidad, dualidad que utiliza para explicar y hacer partícipe al observador del propósito artístico. Asimismo, el paisaje y el entorno hacen parte de la obra de la artista boliviana, en los cuales la cámara se mueve con una velocidad específica, usualmente lenta, para mezclar experiencias e intereses personales con situaciones y problemáticas comunitarias, haciendo uso de la memoria colectiva para dejar un mensaje y una sensación que invite a reflexionar sobre la continuidad y tergiversación de la historia.
In order to better document local or national events, depending on the work and its context, artistic objectivity is transcendental as a way of re-reading a past that has an infinite number of meanings and convergences. To this end, Claudia Joskowicz's works orbit between fiction and reality, a duality she uses to explain and involve the observer in the artistic purpose. Likewise, the landscape and the environment are part of her work, in which the camera moves with a specific speed, usually slowly, to mix personal experiences and interests with community situations and problems, making use of collective memory to convey a message and a feeling that invites reflection on the continuity and distortion of history.


===Obras destacadas===
===Featured works===


*'''{{Fecha|2006|link=}}''': Music to watch dead girls by
*'''{{Fecha|2006|link=}}''': Music to watch dead girls by
Línea 56: Línea 58:
*'''{{Fecha|2011|link=}}''': Sympathy for the Devil
*'''{{Fecha|2011|link=}}''': Sympathy for the Devil
**Every building on Avenida Alfonso Ugarte – After Ruscha
**Every building on Avenida Alfonso Ugarte – After Ruscha
*'''{{Fecha|2014|link=}}''': Los rastreadores
*'''{{Fecha|2014|link=}}''': Los rastreadores (The Trackers)
*'''{{Fecha|2015|link=}}''': Hay muertos que no hacen ruido.
*'''{{Fecha|2015|link=}}''': Hay muertos que no hacen ruido (Some Dead Don’t Make a Sound)


===Obras de Claudia Joskowicz en las Colecciones del Banco de la República===
===Works by Claudia Joskowicz in the Banco de la República Collections===


{|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"  
{|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"  
|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Obras de Claudia Joskowicz en la Colección de Arte del Banco de la República'''</big>
|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Works by Claudia Joskowicz in the Banco de la República Collections'''</big>
! width="300 px" style="background:Lavender; color:Black"|Título
! width="300 px" style="background:Lavender; color:Black"|Title
! width="40 px" style="background:Lavender; color:Black"|Año
! width="40 px" style="background:Lavender; color:Black"|Year
! width="80 px" style="background:Lavender; color:Black"|Ubicación
! width="80 px" style="background:Lavender; color:Black"|Location
! width="80 px" style="background:Lavender; color:Black"|Denominación
! width="80 px" style="background:Lavender; color:Black"|Technique
! width="80 px" style="background:Lavender; color:Black"|Registro
! width="80 px" style="background:Lavender; color:Black"|Registration number
|-
|-
||Drawn and Quartered
||Drawn and Quartered
||2007
||2007
||Reserva
||Reserve
||Video
||Video
||AP5501
||AP5501
Línea 77: Línea 79:
||Round and Round and Consumed by Fire
||Round and Round and Consumed by Fire
||2009
||2009
||Reserva
||Reserve
||Video
||Video
||AP5500
||AP5500
Línea 83: Línea 85:
||Vallegrande 196
||Vallegrande 196
||2008
||2008
||Reserva
||Reserve
||Video
||Video
||AP5499
||AP5499
Línea 89: Línea 91:
|}
|}


==Cronología==
==Timeline==


*1968: nació en Santa Cruz de la Sierra, Bolivia.
*'''{{Fecha|1968|link=}}''': Born in Santa Cruz de la Sierra, Bolivia.
*1990: intercambio en Ecole D’Architecture Paris-Villemin, París.
*'''{{Fecha|1990|link=}}''': Exchange studies at Ecole d'architecture de Paris-Villemin in Paris.
*1991: se graduó de la Licenciatura en Arquitectura de la Universidad de Houston, Texas.
*'''{{Fecha|1991|link=}}''': Graduates with a degree in architecture form the University of Houston, Texas.
*1998: recibió el premio Jack Goodman Award for Art & Technology, Universidad de Nueva York.
*'''{{Fecha|1998|link=}}''': Recipient of the Jack Goodman Award for Art & Technology, New York University.
*1999: participó en la muestra “'''Zapping Zone'''” en la Hubert Winter Gallery, Viena.
*'''{{Fecha|1999|link=}}''':  Participated in the showcase Zapping Zone at Hubert Winter Gallery, Vienna.
*2000: finalizó la Maestría en Artes de la Universidad de Nueva York.
*'''{{Fecha|2000|link=}}''': Completed the master of arts degree at New York University.
**participó en la residencia artística AIM Program, Museo de Arte del Bronx, Nueva York.
**Participated in the AIM Fellowship art residency at the Bronx Museum of Art, New York.
**expuso en la Momenta Art Gallery de Brooklyn, Nueva York.
**Exhibited at Momenta Art Gallery in Brooklyn, New York.
*2003: participó en la residencia artística Workspace: The Woolworth Building Residency, Lower Manhattan Cultural Council, Nueva York.
*'''{{Fecha|2003|link=}}''': Participated in Workspace
*2005: obtuvo el primer puesto de fotografía digital modificada del Centro Simon I. Patiño, Cochabamba, Bolivia.
*'''{{Fecha|2005|link=}}''': Won first place for modified digital photography at the Simon I. Patiño Center, Cochabamba, Bolivia.
*2006: participó en la IV Bienal Internacional de Arte Mediático de Seúl.
*'''{{Fecha|2006|link=}}''': Participated in the IV International Biennial of Media Art in Seoul, South Korea.
*2007: expuso en Korean Cultural Service, Beijing.
*'''{{Fecha|2007|link=}}''': Exhibited at the Korean Cultural Service in Beijing.
*2009: Fue becaria de la J. William Fullbright Scholar, Bolivia.
*'''{{Fecha|2009|link=}}''': Became a J. William Fulbright Scholar in Bolivia.
**participó en el VII Encuentro del Instituto Hemisférico de Performance y Política, Museo de Arquitectura Universidad Nacional de Colombia, Bogotá.
**Participated in the VII Encounter of the Hemispheric Institute of Performance and Politics, Museum of Architecture, National University of Colombia, Bogotá.
*2011: ganó la beca John Simon Guggenheim Foundation Fellowship.
*'''{{Fecha|2011|link=}}''': Awarded the John Simon Guggenheim Foundation Fellowship.
*2014: participó en la Comisión para artistas de la Fundación Cisneros Fontanals, Miami.
*'''{{Fecha|2014|link=}}''': Participated in the Commission for Artists of the Cisneros Fontanals Foundation, Miami.
*2019: participó en el 45 Salón Nacional de Artistas “'''El revés de la trama'''”, Galería Santafé, Bogotá.
*'''{{Fecha|2019|link=}}''':  Participated in the 45th National Artists’ Salon with El revés de la trama (The Reversal of the Plot), Santa Fé Gallery, Bogotá.
*2020: expuso en la LMAK Gallery, Nueva York.
*'''{{Fecha|2020|link=}}''': Exhibited at LMAK Gallery, New York.


==Véase también==
==See also==


*[http://joskowicz.com/es/biografia/. Biografía.]
*[http://joskowicz.com/es/biografia/. Biography.]
*[http://www.artillerymag.com/claudia-joskowicz/. Claudia Joskowicz. Artillery Magazine.]
*[http://www.artillerymag.com/claudia-joskowicz/. Claudia Joskowicz. Artillery Magazine.]
*[https://bombmagazine.org/articles/claudia-joskowicz/. Claudia Joskowicz by Omer Fast. Bomb Magazine.]
*[https://bombmagazine.org/articles/claudia-joskowicz/. Claudia Joskowicz by Omer Fast. Bomb Magazine.]
*[https://artishockrevista.com/2017/12/05/claudia-joskowicz-muertos-no-hacen-ruido/. Claudia Joskowicz: Hay muertos que no hacen ruido. Revista Artishock.]
*[https://artishockrevista.com/2017/12/05/claudia-joskowicz-muertos-no-hacen-ruido/. Claudia Joskowicz: Hay muertos que no hacen ruido (Some Dead Don’t Make a Sound). Revista Artishock.]


==Referencias==
==References==


{{listaref}}
{{listaref}}


==Bibliografía==
==Bibliography==


1. Bernal, María Clara & Pini, Ivonne. (2012). Traducir la imagen. El arte colombiano en la esfera transcultural. Bogotá: Ediciones Uniandes.
1. Bernal, María Clara & Pini, Ivonne. (2012). Traducir la imagen. El arte colombiano en la esfera transcultural. Bogotá: Ediciones Uniandes.
Línea 127: Línea 129:
2. Westgeest, Helen. (2015). Video Art Theory: a comparative approach. Malden: John Wiley & Sons Ltd.
2. Westgeest, Helen. (2015). Video Art Theory: a comparative approach. Malden: John Wiley & Sons Ltd.


==Colección de arte del Banco de la República==
==Banco de la República Art Collection==


*Visite la obra Drawn and quartered de Claudia Joskowicz en [https://www.banrepcultural.org/coleccion-de-arte/obra/drawn-and-quartered-ap5501. Colección de arte]
*Visit Claudia Joskowicz's work Drawn and quartered at [https://www.banrepcultural.org/coleccion-de-arte/obra/drawn-and-quartered-ap5501. Colección de arte]
   
   
*Visite la obra Round and Round and Consumed by Fire de Claudia Joskowicz en [https://www.banrepcultural.org/coleccion-de-arte/obra/round-and-round-and-consumed-fire-ap5500. Colección de arte]
*Visit Claudia Joskowicz's Round and Round and Consumed by Fire at [https://www.banrepcultural.org/coleccion-de-arte/obra/round-and-round-and-consumed-fire-ap5500. Colección de arte]


*Visite la obra Vallegrande 196 de Claudia Joskowicz en [https://www.banrepcultural.org/coleccion-de-arte/obra/vallegrande-1967-ap5499. Colección de arte]
*Visit the work Vallegrande 196 by Claudia Joskowicz at [https://www.banrepcultural.org/coleccion-de-arte/obra/vallegrande-1967-ap5499. Colección de arte]


==Créditos==
==Credits==


1. Investigación y texto Alejandro Lozano, mediador de los Museos y colecciones del Banco de la República, para Banrepcultural.  
1. Research and text: Alejandro Lozano, mediator of Banco de la República museums and collections, for Banrepcultural.  


2. Revisión y edición de textos: Inti Camila Romero Estrada y Diana Marcela Salas Solórzano. Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC)
2.Review and editing: Inti Camila Romero Estrada and Diana Marcela Salas Solórzano. Public and Educational Services, Art and Other Collections Unit (UAOC).


[[Categoría:Artista]][[Categoría:Mujer]][[Categoría:Mujeres Notables]][[Categoría:Nacidos en Bolivia]] [[Categoría:Colección de arte del Banco de la República]]
[[Categoría:Artista]][[Categoría:Mujer]][[Categoría:Mujeres Notables]][[Categoría:Nacidos en Bolivia]] [[Categoría:Colección de arte del Banco de la República]]

Revisión actual - 09:43 21 sep 2021

Otros idiomas:
Claudia Joskowicz
Datos generales
Nombre Claudia Joskowicz
Fecha de nacimiento 1968
Nacionalidad Boliviana
Ocupación Artista plástica
Formación profesional Licenciatura en Arquitectura en la Universidad de Houston, Texas
País de nacimiento Bolivia
Ciudad de nacimiento Santa Cruz de la Sierra


Claudia Joskowicz is a Bolivian visual artist who has worked primarily with video. Her work depicts the social and political reality of her native country, articulating historical and current events to extract them from their initial context and then transfer them to a digital medium, generating another artistic perspective.

Biography

Joskowicz was born in 1968 in Santa Cruz de la Sierra, Bolivia. In 1990, she participated in an exchange program at the Ecole d'architecture de Paris-Villemin in Paris. She later traveled to the United States to study for a bachelor of architecture degree at the University of Houston, Texas, where she graduated in 1991. During the nineties, she participated in small group exhibitions showing her audiovisual work. In 1998, she received the Jack Goodman Award for Art & Technology from New York University. In 2000, she graduated from the master of arts program at the same university, where she presented her first public exhibition based on her thesis work.

That same year, Joskowizc participated in the AIM Fellowship residency at the Bronx Museum of the Arts in New York. Three years later, in 2003, she was part of another artist residency, Workspace: The Woolworth Building Residency at the Lower Manhattan Cultural Council in New York. In 2005, she won first prize in modified digital photography from the Simon I. Patiño Center in Cochabamba, Bolivia. She was a J. William Fulbright Scholar in research and teaching in Bolivia during 2009. Two years later, in 2011, she won the John Simon Guggenheim Foundation Fellowship in film and video and in 2014 she was present at the Commission for Mid-Career Artists by the Cisneros Fontanals Foundation in Miami.

Parallel to her academic and research participation in the arts, she has taught in the United States and Bolivia. Particularly notable was her teaching career in the Steinhardt Department of Visual Arts at New York University where she taught video and multimedia from 2006 to 2015. In 2013, she taught at the Simon I. Patiño Foundation in Santa Cruz de la Sierra. From 2007 to 2015, she was part of the advisory committee of the Hemispheric Institute of Performance and Politics (HEMI) at New York University. Since 2017 she has been an assistant professor in the Department of Art at Wellesley College in Massachusetts.[1]

Artistic career

Her artistic career began while she was still attending the University of Houston and New York University. She participated in numerous solo exhibitions, beginning in 2000 when she presented Jenny and David at the Momenta Art Gallery in Brooklyn, New York. In 2002, she presented this work again at the Video Project Room in Minneapolis. In 2009, she exhibited two works in two art spaces in Bolivia: Music to Watch Dead Girls By at Kiosko Gallery in Santa Cruz de la Sierra and Recreaciones (Recreations) at the National Art Museum in La Paz. The following year she presented her work Round and Round and Consumed By Fire at Thierry Goldberg Projects in New York.

In 2011, Joskowicz participated in the VII International Biennial of Art—SIART with her video installation Intersecciones (Intersections). In 2012 and 2013, she exhibited works such as Simpatía por el diablo (Sympathy for the Devil), Intersecciones (Intersections), Recreations (Recreaciones), and Evidencia (Evidence) in several cultural centers in Bolivia and the United States. In 2014, she presented What if Time Stood Still? at Project Space Galerija Gregor Podnar in Ljubljana, Slovenia. The following year she exhibited her work Recreations at Die Ecke Arte Contemporáneo in Santiago de Chile. The work Every Building on Alfonso Ugarte Avenue—After Ruscha was presented in 2016 at the Albright-Knox Art Gallery in Buffalo, New York and How I Finally Lost My Heart at LMAK Gallery in New York during 2020.

Notable group exhibitions include “Zapping Zone” in 1999, presented at the Hubert Winter Gallery in Vienna, “Video X: Ten Years of Video at Momenta Art” in 2003 at Momenta Art Gallery in Brooklyn, New York, and “Beyond Images”, a video installation presented at the IV International Media Art Biennial in Seoul, South Korea in 2006. Joskowicz also exhibited in 2007 in Beijing with the exhibition “Timeline: Human Speed & Technology Speed” by the Korean Cultural Service. She has exhibited in Colombia with her intervention in 2009 at the VII Encounter of the Hemispheric Institute of Performance and Politics at the Museum of Architecture at the National University of Colombia, Bogotá; during the 45th National Artists’ Salon; and with “El revés de la trama” (The Reversal of the Plot) at Santa Fé gallery in Bogotá during 2019. She has also participated in numerous international group shows in Brazil, Ecuador, Denmark, Argentina, Spain, and Germany, and other countries.[2]

Characteristics of her work

Claudia Joskowicz's work is immersed in social, political, and cultural situations, focused on a particular interest in addressing the spatial background of Bolivia, Latin America, and the world and the past and present reality of these territories. She mainly uses video installation and digital media, keeping in mind the environment where the work is exhibited. Also recurrent in her works are sequence shots, inspired by Andrei Tarkovsky, one of her favorite film directors. Time and space are decisive in cinematographic works, since the purpose as an artist is to present the spectator with the content in a given duration and environment.[3]Historical events in Bolivia, such as the death of Che Guevara, and social situations, such as the protests against the privatization of natural resources such as gas in El Alto, a town next to the Bolivian capital, recreate situations that the artist constantly seeks and alters, bearing the context in the background. This represents a simple but radical way of looking at the situation.[4]Similarly, this artistic exercise allows Claudia Joskowicz to express how history is consumed and understood, and what the relevance of the media is when transmitting information to different audiences.

In order to better document local or national events, depending on the work and its context, artistic objectivity is transcendental as a way of re-reading a past that has an infinite number of meanings and convergences. To this end, Claudia Joskowicz's works orbit between fiction and reality, a duality she uses to explain and involve the observer in the artistic purpose. Likewise, the landscape and the environment are part of her work, in which the camera moves with a specific speed, usually slowly, to mix personal experiences and interests with community situations and problems, making use of collective memory to convey a message and a feeling that invites reflection on the continuity and distortion of history.

Featured works

  • 2006: Music to watch dead girls by
  • 2008: Drawn and Quartered
    • Vallegrande, 1967
  • 2009: Round and Round and Consumed by Fire
  • 2011: Sympathy for the Devil
    • Every building on Avenida Alfonso Ugarte – After Ruscha
  • 2014: Los rastreadores (The Trackers)
  • 2015: Hay muertos que no hacen ruido (Some Dead Don’t Make a Sound)

Works by Claudia Joskowicz in the Banco de la República Collections

Works by Claudia Joskowicz in the Banco de la República Collections
Title Year Location Technique Registration number
Drawn and Quartered 2007 Reserve Video AP5501
Round and Round and Consumed by Fire 2009 Reserve Video AP5500
Vallegrande 196 2008 Reserve Video AP5499

Timeline

  • 1968: Born in Santa Cruz de la Sierra, Bolivia.
  • 1990: Exchange studies at Ecole d'architecture de Paris-Villemin in Paris.
  • 1991: Graduates with a degree in architecture form the University of Houston, Texas.
  • 1998: Recipient of the Jack Goodman Award for Art & Technology, New York University.
  • 1999: Participated in the showcase Zapping Zone at Hubert Winter Gallery, Vienna.
  • 2000: Completed the master of arts degree at New York University.
    • Participated in the AIM Fellowship art residency at the Bronx Museum of Art, New York.
    • Exhibited at Momenta Art Gallery in Brooklyn, New York.
  • 2003: Participated in Workspace
  • 2005: Won first place for modified digital photography at the Simon I. Patiño Center, Cochabamba, Bolivia.
  • 2006: Participated in the IV International Biennial of Media Art in Seoul, South Korea.
  • 2007: Exhibited at the Korean Cultural Service in Beijing.
  • 2009: Became a J. William Fulbright Scholar in Bolivia.
    • Participated in the VII Encounter of the Hemispheric Institute of Performance and Politics, Museum of Architecture, National University of Colombia, Bogotá.
  • 2011: Awarded the John Simon Guggenheim Foundation Fellowship.
  • 2014: Participated in the Commission for Artists of the Cisneros Fontanals Foundation, Miami.
  • 2019: Participated in the 45th National Artists’ Salon with El revés de la trama (The Reversal of the Plot), Santa Fé Gallery, Bogotá.
  • 2020: Exhibited at LMAK Gallery, New York.

See also

References

  1. ↑ Claudia Joskowicz’s CV http://joskowicz.com/es/cv-es/
  2. ↑ Ibídem
  3. ↑ Claudia Joskowicz: formas de ver. El Deber. https://eldeber.com.bo/19246_claudia-joskowicz-formas-de-ver
  4. ↑ Claudia Joskowicz. Guggenheim Museum. https://www.guggenheim.org/artwork/artist/claudia-joskowicz

Bibliography

1. Bernal, María Clara & Pini, Ivonne. (2012). Traducir la imagen. El arte colombiano en la esfera transcultural. Bogotá: Ediciones Uniandes.

2. Westgeest, Helen. (2015). Video Art Theory: a comparative approach. Malden: John Wiley & Sons Ltd.

Banco de la República Art Collection

Credits

1. Research and text: Alejandro Lozano, mediator of Banco de la República museums and collections, for Banrepcultural.

2.Review and editing: Inti Camila Romero Estrada and Diana Marcela Salas Solórzano. Public and Educational Services, Art and Other Collections Unit (UAOC).


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