XZZX Mariela G. Domínguez

💛 FASHION

JEWERLY

Gomels by xzzx

DRESSES

My sewing work is focused on the production of dresses and my inspiration is the efficient fashion of the Decade of the 40´s. Many dresses of this period are in accordance with the classic shirtdress which is a type of clothing adaptable to different daily activities and hours of the day.
Each of my designs are also unique in their configuration and each dress combines at least four different types of fabrics. This type of manual work of selection and combination of types of fabrics, patterns, textures and colors has its origin in the reusing of fabric scraps and thus related to the tradition of the Quilt. The Quilt tradition has been linked mostly to decorative objects and not necessarily a type of clothing. However, it is a tradition that is directly linked to the female's role in the home. In this sense my dresses intend to rearticulate a tradition and strengthen the tasks of manual work as an instrument of contemporary artistic creation.

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😀 Artworks

THERE IS NO ALTERNATIVE

Site-Specific | Houston, Texas, USA, 2023/2024

The exhibition shows us a symbol of the phenomenon of degradation that links the implication of the dominant economic system with the already evident contemporary ecological disaster.
In this sense, the sentence “there is no alternative” alludes to the axiom of the 1980s that prioritized a global system based on financial benefit without due protection from the consequences and ecological damage.
There Is No Alternative is a site-specific installation founded on two elements: water and money. The water is presented in the form of a hanging block of ice slowly melting which reveals money inside.
The degradation, latent from the melting process, also relates the gravity of the hanging structure with the functioning of the economic system that flows from “top to bottom” or from north to south, exposing the historical power relationship of domination projects. In the same way, the projects of the global north, although fundamentally responsible for the ecological and social disaster, impact the nations of the global south with their disastrous and uncontainable effect.
The process of ecological degradation is an event loaded with symbols about our current reality represented in the magnitude of the destruction, whose residue, already stripped of any value, is meaningless.
In return, wastewater becomes the element from which we must nourish ourselves as we project other possible alternatives to build.

LIMITS

Installation | Houston, Texas, USA, 2022

Outlined edges show the limits of a territory and indicate a specific time in the space we inhabit. Both components manifest a possible debate on the vulnerability of humanity. A map of Uvalde, Texas, places us in front of the most recent massacre in the US, revealing once again the epicenter of repeated violence which over the years has been devastating a nation.
Circumstances change and arbitrary limits, used to define a nation, perpetually insist on harming its inhabitants.
Los bordes delineados evidencian los límites territoriales en el momento específico del espacio que habitamos. Ambos componentes manifiestan un posible debate sobre la humanidad vulnerada.
Un mapa de Uvalde, Texas, nos instala frente a frente de la más reciente masacre ocurrida en los EEUU, revelando el lugar cual si fuera el epicentro del brote violento y eventual que por el transcurrir de los años, está arrasando con una nación.
Las circunstancias cambian y los límites arbitrarios, señalados como el contenedor de una nación, insisten a perpetuidad en vulnerar a sus habitantes.

SABOTEADORES NATOs

Installation | Houston, USA, 2022

"As we approach Halloween night, something smells like sabotage in the depths of the Baltic Sea."

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STIGMA SERIES

Clay on street signs | Houston, Texas, USA, 2018-2020

Many moons have passed between now and the distant actions of my childhood.
However I cannot ignore the relationship between these remote memories and my current creations. It started, like most children, in kindergarten where I created clay figures that transformed into narrative scenes of fantasy and fun. Naturally this craft shows through in various forms and uses. Due to family circumstances, I had to learn to cook at an early age. So in order to enjoy it more, I mainly made pastries that included the forms and figures I had always done with clay, but this time as edible treats. Although I must admit I did not come to these conclusions by myself. I remember a friend of the family who shared with me her enthusiasm for antique birthday cakes and homemade creams of all colors, and me being marveled by the patterns and textures of something so delicious.
My family lived a sort of nomadic lifestyle. At some point in one of these new geographies I discovered a material that was easy to mold and apply color, being playful and experimental but at the same time hardened to form a figure much more solid than that of marzipan or plasticine. Since then my models have become objects with greater autonomy and easily adaptable to my plastic art expression requirements. Over time I have developed my own version of this material and it is the base of my most recent sculptural art works. The clay is composed of cornstarch, liquid glue, vinegar, petroleum jelly, and some essential oils. Once cooked I add pigments to separate sections creating a base of primary colors, from which I mix small amounts of each to create the large spectrum of colors which can be seen in my works. The resulting clay is very popular in the world of cheap souvenirs and kitsch objects. Products made from these types of clays are not usually linked to artistic production, nor related to craft productions, but rather seen as an insignificant material made for non-serious domestic projects, and primarily geared towards women. In this sense the clay that I use is doubly marginalized, relegated by its domestic use by women, as well as being seen as something used in decorative minor crafts and cheap souvenirs.
On the other hand, my profession as a graphic designer exposed me to other interests linked to communication. Since then I have been interested in the cultural history and traces of meanings that are reflected by the passage of time in different mediums of communications and artistic creations. The forms of communication I am mainly interested in are street expressions, such as graffiti, posters, flyers, advertising signs as well as public traffic signs. As I wander the streets, I find symbols and meanings in the signs and posters littered throughout the city. I choose certain supports which I can intervene and reuse. Naturally these ̈canvases ̈ relate to the urban and social collective in that they are a vehicle of information meant for the public, but in my appropriating of them, bringing them back to the domestic domain where I apply colorful clay, I am creating an object of various degrees of urban, kitsch, domestic and playful.
My current ambitions are to blend the domestic with the external and social environment. In this form I express two possible narratives. The first being the household environment with its routines, love and its many emotional conditions, often invisible in the context of capitalist productivity. And the second being the external or urban environment, a mostly wild and chaotic narrative with serious glimpses of dehumanization and depersonalization. I am certain I am looking to rescue a homemade material that is linked to my personal story, and at the same time make visible critical traits of the social framework, so that my work excels as a transforming element in our everyday environment.

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CARS

Digital illustration | Houston, Texas, USA, 2018

"The good life in space city."

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TRUMP THIS

Art Car Museum, 12th Annual Open Call Exhibition | Houston, Texas, USA, 2017

READ ABOUT THE EXHIBITIONART CAR MUSEUM HOUSTON

MY IMPRESSIONS OF GALVESTON

Video | Galveston, Texas, USA, 2016

This film is a visual record of a possible parallel story inspired by my life on the island, and what it represents to recognize / assimilate a "new culture". For audiovisual recording I simply use a relatively old iPhone that was given to me when I arrived in the USA. The chain of images, collected over almost two months, is presented as the progression of a day (24 hours), and is unified with the presence of a character, who is the figure of the artist (Justin Earl Grant). The shots are intentionally obtained from the most logical point of view for a recording on a mobile device, which is at shoulder height and does not use an accessory tripod. The island invoked my curiosity about the subtle and not so subtle movements of the wind, movements such as constant circulation of cars and clouds, the interior life of alleys, the immobility of the streets, the highway, the supply centers, and the lush vegetation.
In the course of compiling the sequences, my search transforms and I am inclined to expand this record to other possible stories. Thus it includes the registration of the monument of San Jacinto, Texas, as the starting point of the sequence. Texas presents itself to me as a precarious space emerging from a disputed land. In this sense, I found in this monument a clue that would resonate to an eternal return, from which we must remember where we descended from.
1st. Place in category Full Length Film. Le Film Festival de Mobile Phone, RecRoom. Houston, 2016.

EL DOMINIO DE LA RAZÓN

Digital Illustration | Houston, Texas, USA, 2017-2019

Artwork based on the allegorical representation of the phallus. In my works the phallus is represented in an graphic and iconic way.
The scenes illustrate physical and cultural stereotypes, patriarchal, conservative or rational concepts.
A critical point in my work is to expose a dominant cultural heritage, twisting traditional discourse to reflect on new dimensions and configurations of gender, sexual, and social cultures.

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CHANTAS

Artwork SeriesS | 2004-2020

The doodle of a "pico" is the typical drawing that you see in public restrooms (*Chile). The drawing consists of two parallel circles, one next to the other, from which emerges an elongated oval, crowned by a line that indicates it as the glans penis. Everything seems to indicate that a penis squiggle in a public bathroom, in Chile and I guess other places, is the maximum expression of an insult to whom it is directed. You can usually read "For So and So" under the doodled "pico". That is to say, "pico for so-and-so," this being an insult to that so-and-so. My life experience in different countries with different social and political histories have guided my considerations and helped me to confirm that authoritarian experiences -as was the dramatic case of Chile with its civic-military dictatorship initiated in 1973- installed in people a very deep notion of subjugation.
The culture of subjugation can be associated with the history of humanity. Likewise, from my point of view, it is now feasible to consider capitalism as the greatest force of submission.
Returning to my anecdote of the "pico", inspired by the trace of the penis doodle that symbolizes subjugation to patriarchy or authoritarianism.
Along with my utopian vision, I have developed over the past 10 years a work based on a critique of the macho legacy . My most recent work is the allegorical representation shown in a series of illustrations based on trite paintings of the Romantic era of the XVIII. The illustrations recreate scenes with elements of landscapes and exotic subjects, which express the inspired aesthetics fundamentally guided by "men", very characteristic of many paintings of this era. The scenes exhibit physical and cultural stereotypes, which are dominated by patriarchal and retrograde concepts.
My work, like this last series of illustrations, or my sculptures and paintings, have a critical point, which is to reveal the dominant cultural heritage, ironically commenting on traditional discourses to generate a reflection on new dimensions and configurations of power, gender, sex, and culture.

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FIGURES

Sculptures series | Buenos Aires, Argentina, 2009

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BASURITAS

Ephemeras Collages | Santiago, Chile, 2003

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🤓 Projects

BE-LONGING

Documentary | Project Director: M.G. Domínguez

Houston, Texas, USA, 2022/2023

Be-Longing is a Micro-Documentaries series dedicated to Houston ́s linguistic legacy
Houston, recently declared the city with the greatest diversity of "mother tongues" in the United States, displays a multiplicity of cultures that are expressed in a diverse set of languages. The Be-Longing project aims to make visible a group of 4 of these spoken languages through 4 unique family stories.
About Be-Longing a Micro-Documentaries Series 2023
In each story, an object was chosen to be the trigger for a story of a journey that evokes uprooting and regeneration. Each video presents a story between two speakers, one, the issuer of a mother tongue and the other, represents the mediator who personifies a new local generation that articulates the dominant English language.
This material object evokes cultural ties that are seemingly enigmatic to everyone, except to those who retain their mother tongue.
The Be-Longing project is financed by the City of Houston through the Houston Arts Alliance.

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FANTASMA

Installation | Project Director: M.G. Domínguez

Arowyn Studios, Houston, Texas, USA | October/November 2021

Fantasma is an experimental interdisciplinary project that connects the pictorial expression of the artist Justin Earl Grantwith the poetry of author Micaela Piñero and the music of Dani Ev Riquelme.
It corresponds to an installation project where linearity is interrupted by deviations from the unconscious.
The installation consists of paintings accompanied with poetry in Spanish, sound and chromatic light effects as well as a printed bilingual book for the visitors.
Funded in part by The City of Houston through Houston Art Alliance.

THE DESIRE TO ASSOCIATE WITH THE GHOST
I had a certain certainty that in some way ghosts are always there and perhaps they make themselves perceptible when you speak a foreign language. They’re what is not visible, but is present, they’re the questions, the ambiguous in our reality.
In a reality marked by a binary vision between the visible and the invisible, faith in a phantasm offers a distinct response over the literality of reality.
Despite the persistent incredulity of some over the existence of the ghost, I set out to make its tracks visible to reach them in a more acute observation.
An artistic action is always linked and attuned with reality, as it has been a sign of reality and reveals the tracks of that reality. In this way, the Fantasma project is an artistic action that aims to make visible the traces of those ghosts. For the development of the artistic action, artists from three different nations were summoned: Justin Earl Grant, Micaela Piñero and Dani Ev Riquelme. From the United States, Argentina and Chile, respectively.
The unifying concept of the Fantasma project is to reveal the artistic creative process through the integration of poetic expression, sound and painting. In an experimental format, the result is a site-specific installation that invites visitors to reconstruct the moment of creative introspection based on pictorial traces and auditory poetic interventions.
SUDDENLY THE PANDEMIC APPEARED
The Fantasma project was developed at the end of 2019 until October of 2021, corresponding to the date on which it is made present to the public in the city of Houston.
At first, the project was configured with a strategy prior to the outbreak of the pandemic that is still sweeping the planet. In this way, the artistic act, in tune with the change of scenario of reality, demanded a transformation of the process of creative work and implied the tacit incorporation of the world’s new context. Therefore, the configuration of the project was adjusted to a changing reality, which accentuated the possibility of a greater number of ghostly encounters and reappearances.
During the transit through our confinement we have experienced countless events / expressions that have especially pointed out these reappearances. The ambiguous and the transitory, the uncertainty in our social life, in social networks, faced with our fears, in global disputes—these are scenarios where the ghost seems to reappear with vigor.
Something that reappears again is something that is demanding a change.
IN THE LABYRINTH
The interdisciplinary artistic work is condensed in the production of a site-specific immersive installation—suggestive of a trajectory and labyrinth-like journey—as a proposal towards a spectator who linearly traverses through the suggested narrative. The installation recreates a ghostly scene, composed of poetry, sound and painting, traces exposed in accordance with a constant fluidity that proposes we play by getting lost. Perhaps, in dialogue with the daily magic of "going for a walk", of "wandering" representing an idea of furtive or fleeting beauty, whose montage suggests an invitation to participate in the creation of your own narrative.
Along the way we ask ourselves, where are we? The majority of us are on a confusing path. Complexity is the sign of what is actual and current.
In the labyrinth, an illusion is built in which the visitor resurrects the creative action of the artist and together they transcend creation. Both are creators, both are part—and they do not know—there is a ghost, an element without definition that contributes to the meeting in connection as an overcoming of the quotidian emergency.
THE EXIT
Some of the issues that are important in the life of every human being are love, religiosity, sexuality and the quotidian. In poetics they express themselves in intimate compositions.
“I can’t sleep, / I can’t even try, / so I don’t and that’s that.”… Although it is imperative to remember what we dream and recognize what our dreams are, we are exposed to the symptoms of a spectrum, living in a constant state of vigilance. "I want to know everything about myself / and start again / a new beginning for me / to do the things / that make me feel good, / and just feel good." ... In the maelstrom we consider taking a break, an option that appears prudent and yet for others there is no other alternative.
The poetic proposal in Fantasma impregnates us with a feeling of strangeness, but without understanding we move on and ask ourselves what guides us? We reflect on new and altered dynamics of survival, seeing adverse apparitions in our daily existence.
It is an opportunity that makes visible the precarious experience of the artist, his reality, his vital articulations and the dynamics of his creation.
Echoes of unequal planetary realities seem to accentuate the presence as if it were spectra of a broken life, of a boiling city, of activation in popular revolutions, with a whole expressed in ambivalent sounds.
The visual proposal formally unifies the action by immersing itself in a narrative journey. The trace left by the creative activity expressed in a metonymic context reminds us of those effects of the cinematographer, an expression of the phantasmagoric interloping us.
Perhaps it is necessary to think and let go in response to the emergency.
A GHOST HAUNTS THE PLANET: THE 👻
The Fantasma expresses itself as a forthcoming time, testimony of a past living being or a future living being, and for this reason it is in misalignment with the contemporary.
Currently everything looks abnormal, we are in a non-place, as if we were in transit. We hear about the new normal, the presence of the ghost is felt, as it testifies to something that reappears, appears again, and what we are trying to repress emerges, is strengthened.
Crossing the darkness, getting to know each other a little more is not enough, the suggested paths are traces of the unconscious, which must be inhabited, there is something that we ignore and that we find in repetition.
Ecological catastrophes, pandemics, poverty, force us to glimpse that there will be other possible paths, perhaps more extensive and distinct …
Perhaps, in principle without being able to change it, it is possible to find alternatives and it is the path of artistic exercise - I hope you can discover it.
Let's go back to having experiences.
Nowadays, virtual hugs do not reach their destination, they are consumed along the way by ghosts while we play to lose ourselves in the dark.
Mariela G. Domínguez, August 2021
Translation by Martin De Leon

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FAMILIA LORENZO FOLK ART FROM GUERRERO MEXICO

Art Exhibition | Project Directo: M.G. Domínguez

Consulate General of Mexico in Houston | Houston, Texas, USA, 2019

Never before seen exhibition in Houston, Texas, showcasing a selection of more than 80 original works.
The Lorenzo Family, originally from Guerrero, Mexico, is unique among the artisans of Mexican altarpieces. The family consists of a multi-generational group, led by the Patriarch Lucas.
For decades, his creations have captured the Mexican visual heritage, universally recognized, highlighting the contemporary and often playful traditional scenes, whose popular sensibility is rooted in a Latin American sociocultural peculiarity.
Currently, the Lorenzo Family, whose members belong to a native Nahuatl-speaking people in Guerrero, uses refined artistic techniques that give life to a variety of themes full of ingenuity and multicolored beauty. Their history goes back 50 years, when Lucas began painting on masonite board, instead of the traditional amate bark which traditionally had been used by others for generations.
The kaleidoscopic palette of the family shows a varied range of paintings, representing figures of saints, demons, angels, animals and religious scenes, all populating Lucas's paintings. His notorious influence on his children and grandchildren, who today participate in modern pop culture, present more playful figures, such as jaguar dancers and angels of Frida Kahlo. Their complexity is also manifested in abstract works, in which the evolution of pastoral mountain scenes and bright concentric points, embodied in austere black backgrounds abound.
The world view reflected in the works of the Lorenzo family, which today is represented by these three generations of artisans, is a sign of its colorful expression and of the richness of Mexican culture and popular art.
Mariela Gerónima Domínguez

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HISTORY THROUGH CINEMA

Film Series | Project Director: M.D. Domínguez

Institute of Hispanic Culture of Houston | Houston, Texas, USA, 2019

Film series entitled History Through Cinema. This film series consisted of a selection of 16 contemporary Ibero-American productions that covered Spanish-American and Spanish history from the 15th century to the present day.

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BORDERLUST

Art Exhibition | Project Director: M.D. Domínguez

Institute of Hispanic Culture of Houston | Houston, Texas, USA, 2019

Mauricio Paz Viola & Justin Earl Grant celebrate their second exhibition together. After their shared experiences in Santiago de Chile 2015, they are reunited once again in the city of Houston.
Borderlust is a reflection on the dynamic experience of how we construct our identity as an emancipatory and paradoxical process. Paz Viola & Grant's collection of works present a series of silhouettes of the human figure whose limits are traced and shows the interconnection of the subject with the whole.
Bonderlust aspires to reaffirm the magnitude of possibilities of the expansion of the human being. Mariela Gerónima Domínguez

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CUATRO VECES YO

Art Exhibition | Project Director: M.D. Domínguez

Montevideo, Uruguay, 2014 | Buenos Aires, Argentina, 2015 | Santiago, Chile, 2016

It is a visual arts project whose exhibition program explores the artistic production of four contemporary painters and promotes the international integration of pictorial creation.

VIDEO: CUATRO VECES YO

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WHITEOUT

Art Installation | Curator: M.D. Domínguez

Santiago, Chile, 2015

Justin Earl Grant in White Out transforms a reproduction into an original work by fixing, on said copy, white paint in a controlled manner, maintaining the outline and features of the original image. The product is a whitish and subtle new image.
This action supposes a reflection on the artist's own life. Not with the purpose of erasing or covering a past by force of white brushstrokes, but by re-painting with the same concentration and dedication, the creation is resurrected. In this way it relieves a dead past from the image / work and revives a latent sign in the original image.
White Out is the illusion of improving the present, aware of our past and our entire memory. In this sense it is a dispute with the "Black Out".
Mariela Gerónima Domínguez

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LOBAS

Festival | Co-Director: M.G. Domínguez

Radicales & UrbnStgo, Santiago, Chile, 2015

Programa de actividades destinadas a fomentar y promover la labor artística de mujeres creadoras emergentes.
El ciclo de actividades incluyó la exposición colectiva de cinco destacadas artistas visuales: Valentina Arentsen , Nora Unda, Bárbara Ardiles, María Ossandón y Sol Barrios.
Música en vivo: Torta Golosa, Ani del Mar, The Norma Jean Discovery, Ey Macarena, Mala Junta y Shawn Strange and the Blue Moons
Cine y charlas: ELLAS NO de Susana Díaz y Madre Hay Una Sola de Alejandra Rosas
Noche de Poesía Activa: Giannina Gutiérrez Stewart y Lidia Ibarra
Danza cotemporanea y un flashmob a cargo de la bailarina Pamela Quero
Performance: Monseñor Ren, Jesusa Delbardo y Romina ebolledo
Art Instalation: "Nunca es suficiente" de Valeria Araneda García

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1st SLAM POETRY

Festival | Co-Director

Radicales & Dry Grass Group®, Santiago, Chile, 2015

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SINCURA

Art Exhibition | Co-Organizer<

Petit Palacio, Buenos Aires, Argentina, 2009

Sincura compone una mirada introspectiva del quehacer de los pintores. La labor de los artistas pintores El juego de palabras "sin cura" alude a los mecanismos de autosanación, autogestión y reflexión en torno al arte.
Artistas: Ernesto Pereyra, Justin Earl Grant, Marcela Giorla, Michael Jackson, Lisandro Actis Caporale, Rodolfo Espejo, Lenie Maler, Micaela Piñeiro, ZAGUI, Ezequiel Montivero, Ana Wolpowicz, Mariana Denise Gayoso, Jasmin Sterle, Miguel Paradelo & Tomas Palma.

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730 DIAS DEL CARTEL

Exhibition | Project Manager

Project Director: Carlos de La Vega | Director: Hernan Colombo
Santiago, Chile, 2002 - 2005
2nd., 3rd. & 4th. Edition of Chilean Contemporary Posters

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BOLETO TIPO CARTON

Investigation by M.D. Domínguez

College of Design A.L.P.E.S, Santiago, Chile, 2006

LA VIDA DE UN BOLETO

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ABOUT XZZX

Mariela Gerónima Domínguez Moreno

(b. 1979) Is a multidisciplinary artist, curator, and cultural manager of South American origin who has been living in Houston since 2016.
She has developed independent curatorial projects in Buenos Aires, Santiago de Chile, Montevideo and in Houston.
Her interests have been various; among them are the development of projects in the field of visual communication, including installation, urban art, folk art, fashion, sculpture, video, jewelry, illustration and painting. Her projects and her work have been exhibited in spaces such as Galería Buenos Aires Sur, Espacio Matta, Houston Center for Contemporary Craft, Institute of Hispanic Culture of Houston, Sawyer Yards, Archway Gallery, The Museum of Fine Arts, Houston, and Craighead Green Gallery.
She graduated in Graphic Communication from the ALPES Professional Institute in Santiago de Chile. She later received a certificate in Strategic Design Management from the Graduate School of the University of Buenos Aires, along with continual studies in art history and criticism.

Multicolor, dots and lines

Long, colorfull and original dress with a combination of five different types of fabrics. Dots and Lines.
Diversified piece, could be worn in multiple seasons, places or events.
One size. Custom fit: Size 8 – 12
100% cotton
Hand wash
Request a personalized order and receive something made exclusively for you.

Aged forest

Full length original dress with a combination of five different types of fabrics.
Diversified piece, could be worn in multiple seasons, places or events.
One size. Custom fit: Size 8 – 12
100% cotton
Hand wash
Request a personalized order and receive something made exclusively for you.

Flowery naivety

Floral dress with a combination of five different types of fabrics. With belt.
Diversified piece, could be worn in multiple seasons, places or events.
One size. Custom fit: Size 8 – 12
100% cotton
Hand wash
Request a personalized order and receive something made exclusively for you.

Paisley Black

Long beauty dark dress with a combination of four different types of fabrics.
Diversified piece, could be worn in multiple seasons, places or events.
One size. Custom fit: Size 8 – 12
100% cotton
Hand wash
Request a personalized order and receive something made exclusively for you.

Multicolor, dots and lines

Aged forest

CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Artwork (detail) by Ernesto Pereyra
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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Artwork (detail) by Rodolfo Espejo

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Artwork (detail) by Cecile Perret

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Poster: Montevideo/Uruguay, 2015

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Art Exhibit: Montevideo/Uruguay, 2015

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Poster: Buenos Aires/Argentina, 2015

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Art Exhibition: Buenos Aires/Argentina, 2015

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Art Exhibition: Buenos Aires/Argentina, 2015

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Poster: Santiago/Chile, 2016

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Art Exhibition: Santiago/Chile, 2016

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CUATRO VECES YO

Art Exhibition
Collective: Cecile Perret, Enrnesto Pereyra, Rodolfo Espejo & Justin Earl Grant
Project Director: Mariela G. Domínguez
Art Exhibition: Santiago/Chile, 2016

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