Professional Documents
Culture Documents
Tomas Alva Edison 137, PB San Rafael, 06470 Ciudad de México, CDMX agustinaferreyra.com
Michael Linares
(Bayamón, PR, 1979)
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Installation view
Booth presentation at Paris Internationale
(plinth)
Ignacio Manuel Altamirano # 50, Casa A. Col. San Rafael. C.P. 06740, CDMX agustinaferreyra.com
Detailed view
Booth presentation at Paris Internationale
Ignacio Manuel Altamirano # 50, Casa A. Col. San Rafael. C.P. 06740, CDMX agustinaferreyra.com
For the 2018 edition of Paris Internationale, Michael Linares (Puerto Rico, 1979) brought a
selection of material fables. These stories are short tales that work as an attempt to explain
how the natural world we know ‘became’, or how it turned into a subject with a spirit and soul.
Taking the artist’s personal and spiritual beliefs as a starting point, each tale is anchored in the
idea that absolutely everything is, or has the potential to become, a habitable space for a spirit.
Each sculpture was created out of magic, and they are the formal result of a ritual. This magic was
whispered into the objects in the form of a secret spell, right before they were declared finished
and started living.
The works; handmade, carved, embroidered, assembled, sewn, found or crafted by the artist,
have been produced using recycled and found materials around his working space, and each of
them is paired with a fable that explains its origin. They narrate the exact moment in which they
became something, or the particular situation in which they were occupied by the spirit that gave
them meaning, and made them present and real for all. They pull from personal and collective
experiences, they convey universal truths that we are lacking or have forgotten, and most
importantly, they are designed to remember things we already know.
The Talking Stick - to take turns before we speak at an assembly, any assembly, considering the
responsibility and caution needed to express anything.
The mask is a ritual ornament that speaks of the impossibility of self love without collective love
and togetherness.
The book is an oracle (like most books are without knowing) though this one does.
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Maracas
(De cuándo el pájaro no volvió a volar)
2018
Feathers, wood, acrylic
27.9 x 12.7 x 12.7 cm (11 x 5 x 5 inches)
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Of when the bird never flew again
“The speckled hen was sitting in a tree devouring ants. One of the ants escaped his sight and
crawled over the Speckled hen’s body up to her ear, where she whispered a plea; if the speckled
hen forgave the ant’s life, the ant would tell the hen where the nest was. And so the ant and the
speckled hen made a deal. The speckled hen came down the tree, found the ants’ nest and ate
for three days straight, extirpating all the ants from the ground.
More than satisfied, the speckled hen decided to take a nap in order to recover from the
indigestion and fell into a deep, profound sleep, waking up two days later. She woke up
disoriented and numb, and she tried to fly immediately but she was so extremely heavy from all
the eating that she could only manage to fly up to the top of the tree, where she remained
forever, condemned to live with wings without being able to fly”.
Ignacio Manuel Altamirano 50, Casa A. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Talking Stick
(De cuando la rama se convirtió en
serpiente ó de cuándo el mono
aprendió a hablar)
2018
Wood, artificial eyes, fabric
91.44 x 2.54 x 2.54 cm
(36 x 1 x 1 inches)
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Of when the branch became a serpent, or how the ape learned to talk.
“One afternoon, the apes were fighting over a mango. One of the apes lost his patience before
the other and in an act of despair, grabbed a twig from the floor to hit the other ape and take the
desired fruit. The branch turned out to be a venomous snake that was camouflaged on the
ground, who without trepidation, devoured the delicious object of discord before the apes could
even blink. Terrified by the astuteness of the serpent, one of the apes opened his mouth and
emitted a sound that had never ever been produced before; it wasn't a grunt, it wasn't a growl, it
didn’t come from his gut, it came from his heart”.
Ignacio Manuel Altamirano 50, Casa A. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Of when a man swallowed the universe or The birth of yawn.
“A man, driven by his selfishness, opened his mouth trying to swallow the universe in one bite,
without even considering how he was just another particle within the immensity he was trying to
swallow. And just as he swallowed the universe, he swallowed himself”.
Ignacio Manuel Altamirano 50, Casa A. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Traveler driftwood
(De cuándo la rama náufraga encontró la orilla)
2018
Driftwood, metal, wooden handles
40.64 x 12.7 x 11.43 cm (16 x 5 x 4.5 inches)
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Of when a castaway branch found the shore.
“A curious seaside mahoe gazed envious at a mangrove from the shore, because the mangrove
lived in the ocean and the mahoe didn’t. One day, the storm, who had been listening to her
pleads for a long time, uprooted the mahoe with a single blow and threw him into the salty
water. The mahoe, happy to finally be where it wanted to be, drifted and drifted away from the
shore until it ended up in the middle of the vast, open sea. The waves quickly started to rip her
apart, and the salt of the water to kill him of thirst. The mahoe drifted for days, then months,
spreading herself all over the colossal body of water until one night, one of its dying branches
found an unknown shore. On the very next day, a passerby found the branch laying down in the
sun among some rocks. The mahoe, delirious, exhausted and imminently facing her own death,
asked the man a last wish; to turn her into a suitcase and carry it with him until the end, and so
he did”.
Ignacio Manuel Altamirano 50, Casa A. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Of when senses stopped making sense.
“A man constantly stared at his own reflection on a puddle. He did it so many times that he came
to understand he was only his soul and decided to get rid of his body. Having understood that his
senses only lived in his head, he decided to cut off his head, in order to separate it from his body,
in an attempt to free himself. Once he escaped his body, he began to roam and float freely with
the intention of finding the world. He then returned to the pond and realized he couldn’t see
himself, he got close to a flower and couldn’t smell it, he tried to grab it and suck it in order to
taste its nectar, but he couldn't , as neither could he hear the buzz of the buzzer bird, or feel the
caress of the wind”.
Ignacio Manuel Altamirano 50, Casa A. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Oráculo
(De cuándo el libro aprendió a leer)
2018
Book, dried fungi
21.59 x 30.48 x 10.16 cm (8.5 x 12 x 4 inches)
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Of when the book learned to read
“A book was feeling lost. It didn’t understand why he was looked at so much. Every time
somebody opened him he wanted to know about his insides, why would people look at him for
hours; what would they see; why would they lick their fingers to turn his pages; and why would
their glances change so much from page to page. One day, a little girl took him out of the shelve
and placed him on a table to read him. The girl began reading him carefully, slowly and out
loud. The book, thrilled to hear his insides for the first time, asked the girl to continue and told
her to speak up so the book could hear her better. The girl told the book she was just learning
how to read, and that she couldn’t say exactly all the words her eyes were seeing. The book
offered her a deal: he would be hers and teach her how to read if she, in exchange, read him out
loud. And that is how they ended up together, keeping each others’ company forever and how
they learned how to read themselves and each other”.
Ignacio Manuel Altamirano 50, Casa A. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Ritual Necklace
2018
Caoba flower-bud, hemp thread, achiote seeds.
Variable dimensions
Ignacio Manuel Altamirano 50, Casa A.,Col. San Rafael 06470 CDMX
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Amigo no gima.
Se es o no se es.
Somos o no somos.
La ruta natural, 2018
is an action that addresses the artist’s ongoing interest in human behavior, patterns and their social
and emotional implications. In this particular work, two people face each other while mirroring the
other person’s actions, evidencing our capacity to ‘feel’ and learn by imitation. For Linares, this
ability to do so indicates not only the consciousness we have of our surroundings, the ‘other’, and
ourselves; but it’s also as a simple, raw and primitive human attempt to make sense.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
El Agua, 2018
“sin título” Retrato Incorpóreo, 2018
Plastic bottle, bottle caps, thread,
Leather shoes, candles
plastic dice, water
Variable dimensions
Variable dimensions
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Pietá, 2017
Desk lamps
Variable dimensions
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
In Not To Be Titled, 2016-2017, Linares continues to explore his interest in the way we
make sense. The sculptures are a series of assisted ready mades that work as rhymes; each
work is a material consonance, a formal exercise intended to produce 'new meaning' by
contrast and juxtaposition. To describe each of these works with words, would be to
abbreviate their meaning and affect, reducing them to a blurry, trivial and unimportant
experience. Instead, Linares wants these pieces to be discovered, experienced and enjoyed,
leaving the spectator with a pleasant feeling, the kind you obtain after seeing something that
nobody else witnessed, a private, subtle and intimate joke.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
A stick is not exactly a branch fallen from a tree. To become a stick, it needs to be picked up
and utilized; it needs the imprint of the agency of the person who wants to use it.1 The intention
carved on the stick gives it the ability to transform energy; a universal, immeasurable energy set in
motion for many ends. Therefore, a stick is a tool, a material extension of human will. The nature of
a stick -which is also present in language when it is called "a stick" - is linked to its functionality,
practical, recreational, or symbolic. This means the stick is part of the social sphere, along with its
occasional or exceptional usages, as well as the communication related to these. This book, also
imprinted in a social reality, gives another turns of the screw to the stick's existence. It indexes the
stick and mobilizes it in the context of art.
A stick could be more or less modified in order to perform work -- from the simple semantic
modification that changes it from branch to stick, to advanced grades of physical and magical
intervention that could enhance it with special functions and powers. However, Michael D. Linares’s
archetypical stick is, conceptually, a manuport (an unmodified found object which has been selected
and moved from its original context by human agency), beyond the fact that its nature is exactly that
of a stick. Namely, Linares's stick is the gestural stick set in motion to produce art, torture, pleasure,
etc., despite the level of physical human modification. His interest is located in the instinctive, first
intention that drives a person to grab a stick, universalizing it.
Here, we come across two elements that relate dialectically. On one hand, we have the finds
of an archeological research that studies the stick as a tool that responds to many kinds of stimuli --
from the gestural and instinctive, to its most elaborate and derivative usages. On the other hand, we
have a collection of still and moving images. These images have an agency of their own, with even
another layer of intention: that of the artist who is able to recognize them, organize them, and link
them together as a work of art.
This is not a historicist sequence of the evolution of the stick as tool, neither it suggests forms
of cultural differentiation derived from it. Peculiarly, these images question and suspend the actual
concept of evolution, as the collection takes a form that is also suspended and is not easily
verbalized. The challenge to any possible interpretative hierarchy leads to a certain unprogressive
notion of time. Evolution is also involution; progress is also barbarity.
1. “Agency is attributable to those persons (and things …) who/which are seen as initiating casual sequences of a
particular type, that is, events caused by acts of mind or will or intention, rather than the mere concatenation of
physycal events” (Alfred Gell, Art and Agency. An Anthropological Theory, Oxford: Oxford University Press, 1998, p.
16.)
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
However, the image of the stick, or the images of the sticks, are not the actual stick or sticks
as objects; they are, in fact, constructions, “complex assemblages of virtual, material, and symbolic
elements."2 The collection constructs a setting to make the images appear, adding information to
these multiple yet limited images --making it possible to categorize them as "a stick". Spyros
Papapetros, quoting Aby Warburg, states: “…it is ultimately the image that absorbs, inflects, or
nullifies all previous agencies and mediates our communication with both subjects and objects."3
Even if Linares's work can be called archeological in terms of the agency of the stick, the images
work to "absorb" this agency, particularly the agency of the stick over the human body, and that of
the human body over the stick.
The images acquire the right to exist on their own; they are not representations of the stick,
they do not describe the stick, and yet they work in favor of the stick, because they have been
summoned to do so. In the words of W.J.T. Mitchell, “pictures want equal rights with language, not
to be turned into language."
2. W.J.T. Mitchell, What Do Pictures Want? The Lives and Loves of Images, Chicago and London: The University of
Chicago Press, 2004, p. xiii.
3. Spyros Papapetros, On the Animation of the Inorganic: Art Architecture and the Extension of Life, Chicago y
Londres: University of Chicago Press, 2012, p. 24.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
As early as the Pliocene epoch, the stick as a specific, three-dimensional form has played a
vital role in the technological, social, political, aesthetic, and religious development of humanity and
some animal species. The chimpanzee’s that poke at the termites, the facial ornamentation of the
Yanomami people, the Shulgi of Ur’s weaponry— as well as the toothpick, knitting needle, and
vaulting-pole—all represent a minute slice of the myriad transfigurations that this form has
undergone throughout history. For Linares, the stick serves as concrete evidence of the neurological
evolution of some animals and indicates their ability to create metaphor. It is an ancient example of
the moment when an object, such as a branch or bone, ceases to be what it inherently is and
becomes an instrument with transformed meaning and purpose. As such, Linares considers the stick
to be an archetype of a “thing;” a vessel devoid of connotation that anticipates signification through
utility.
Treating the stick as a readymade, Linares divests it of any original use value or context,
presenting the form as dependent on conceptual shifts with radically altered implications and
functionality. An Aleatory History of The Stick is the formal outcome of Linares’ investigation into
the history and quotidian uses of stick-like objects— defined as long, rigid shapes, the length of
which are dependent on function and proportion in relation to the body. As a simple machine, a stick
can transform energy, increasing tangible force as with a baseball bat, or symbolic power as with the
baton, wand, or scepter. His study emulates the exploratory and archaeological method of
prospection— involving image, text, video and data gathering—with the aim to generate an
audiovisual archive that represents a collective knowledge base. In this project, Linares exploits the
gaps that exist in science and history as opportunities to create speculative associations and
narrative. Comprised of YouTube clips edited into a layered, moving-image collage, this video
installation of the same title is part of a larger body of works in progress, including a book and a
museum dedicated to the object, set to open in San Juan, Puerto Rico on late September, 2015.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Pájaro, 2017
River stone, Guinea chicken feathers, pine wood pedestal
54 x 6 1/2 x 15 inches (137.16 x 16.51 x 38.1 cm)
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Clítoris, 2017
River stone, palm tree pod, Ni ifé, 2017
coconut palm wood pedestal River stone, acrylic, mango tree wood pedestal
40 x 7 x 20 inches (101.6 x 17.78 x 50.8 cm) 29 x 8 x 14 inches (73.66 x 20.32 x 35.56 cm)
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
– Pablo Guardiola
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Cabeza, 2017
River stone, corn, pine tree wood pedestal
13 x 7 x 15 inches (33.02 x 17.78 x 38.1 cm)
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Ouroboros, 2017
Aerial root & acrylic paint
Variable dimensions
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
“[…]The mimetic faculty as well as the perception of similarities are intertwined and
develop complex though processes. Two of the latter are synthesized in "Subtitle": A Glance
of the Beginning (2016) by Michael D. Linares: the interpretation of thunderstones (ceraunia)
as objects produced by meteorological phenomena endowed with magical powers and that of
the man-carved stones which, until the 18th century were not recognized as such in the West.
The axe and the magical object appear here indistinct, materializing a sort of hermeneutical
problem in which the manufactured object comes back, through language, and the knowledge
it lends itself to, to its purely geological state. In the different interpretative processes to
which they were subjected, these stones ended up acquiring various abilities associated to
their agency. They are efficacious at various levels.”
-Catalina Lozano
excerpt, Curator’s Text, The Resemblance Is All In The Eye Of The Beholder
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Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
During the Cold War in the 1970’s, the United States’s security agencies concluded that
their Soviet enemies were investing large quantities of money conducting extensive research
and obtaining successful results in the field of psychotronics, or the study of the
parapsychological, with military purposes. In an attempt to keep up with the Russians, the
CIA decided to initiate a program known as “Stargate” with the idea of using extrasensory
perception as an espionage strategy, developing what is now known as Remote Viewing, a
practice consisting of ‘seeing impressions’ about an unseen or distant target using
extrasensory perception. In remote viewing, the clairvoyant communicates telepathically with
its target and graphically deconstructs a message through a doodle. In order to decipher and
code these doodles, the CIA established a series of basic ideograms, that frequently came up
in the interpretation of their subjects, producing a universal code made of six basic symbols
that represent the most basic characters in remote viewing. These are: Human, Water,
Structure, Energy, Flatland and Mountain.
Ideograms, 2015 is a series of paintings based on these symbols that represent the
idealist human effort of creating common sense, not only with the intention of understanding
its own mind, but with the need to communicate a consensus, while evidencing the power of
the symbolic in the construction of what we understand and accept as history.
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Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
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Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
The Makapansgat Pebble, also known as the ‘pebble of many faces’ is an
anthropomorphic stone, the size of a baseball, found in 1925 in the Valley of
Makapansgat, located in the Limpopo Province of South Africa. The aforementioned
pebble (ca. 3,000,000 BP) is the first of what scientists have defined as a Manuport.
Technically, a Manuport is a natural object with no alteration whatsoever, that has
been removed from its original context by human agency. Using animation, Linares
uses the circumstances of the Makapansgat finding to tell the story of another
phenomenon, one that is considered by the artist to be the reason and origin, of
everything that means anything for our species.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Michael Linares
(b.1979) Bayamón, Puerto Rico
Lives and works in San Juan, Puerto Rico
Education
2014 - …
MA, Archaeology Centro de Estudios Avanzados de Puerto Rico y El Caribe, San Juan, PR
2010-2011
Independent Studies, Beta-Local, San Juan, PR
1999-2005
BFA, Painting and Sculpture Escuela de Artes Plásticas de San Juan, PR
2018
Michael Linares, Paris Internationale, Paris, FR (with Galería Agustina Ferreyra) (forthcoming)
2017
Future Exhibition, Galería Agustina Ferreyra, San Juan, PR
2015
Museo del Palo (Museum of the Stick), Casa del Sargento, Beta-Local. San Juan, PR.
www.museodelpalo.com
The Way of Makapansgat, Galería Agustina Ferreyra, San Juan, PR
A Aleatory History of the Stick, Art in General, NY. Curated by Kristen Chappa.
2014
Outside In/ Out. Solo Project. MACO Art Fair. curated by Juan Gaitán, México City, Méx. (with
Ltd Los Angeles)
2013
Was it a Rat I Saw?, Ltd Los Angeles. Los Angeles, CA.
2012
Así las cosas (This being So), Mural Commission. Bass Museum of Art, Miami.
2011
Michael Linares, Chemi’s Room, San Juan, PR
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
2010
Useless, curated by Pablo Leon de la Barra, PINTA Art Fair London U.K.
Oasis Inclusive Structure at ARCO Solo Projects 2010, curated by Juan de Nieves , Madrid, Spain
2009
Found & Lost, Museo de Arte Contemporáneo de Puerto Rico, San Juan, PR
2007
Eight, ocho, bizcocho, cake, Galería Comercial, San Juan, PR
Lawrimore Loves Painting, Lawrimore Projects, Seattle, WA
2018
Paul Heyer, Michael Smith & Michael Linares, Condo CDMX, Galería Agustina Ferreyra, Mexico
City, MX (with Chapter NY and Dan Gunn)
Chelsea Culprit | Ramiro Chaves | Michael Linares, Material Art Fair, Mexico City, MX (with
Galería Agustina Ferreyra and BWSMX)
2017
Ramiro Chaves | Heather Guertin | Michael Linares | Cristina Tufiño | Zadie Xa, NADA Miami
Beach, Miami, US (with Galería Agustina Ferreyra)
A Universal History of Infamy. Los Angeles County Museum of Art (LACMA). Pacific Standard
Time LA/LA. US
How To Call The Spirits, Condo NY, Chapter, New York City, US (with Galería Agustina
Ferreyra)
Identify your limitations, acknowledge the periphery, VITRINE. Basel, CH
2016
Incerteza Viva. 32nd Bienal de São Paulo. Curated by Jochen Volz, Gabi Ngcobo, Júlia Rebouças,
Lars Bang Larsen, & Sofía Olascoaga.
The Resemblance Is All In The Eye of The Beholder, Galería Agustina Ferreyra, San Juan, PR
Heather Guertin & Michael Linares, Liste, Basel, with Galería Agustina Ferreyra
Rican/Struction, in Collaboration with Abraham Cruzvillegas. Galería Agustina Ferreyra, San
Juan,
PR.
2015
NADA Miami Beach 2015, with Galería Agustina Ferreyra, Miami, FL
2013
Group Show, Instituto de Cultura Puertorriqueña, Curated by Abdiel Segarra
2012
Gala, Museo de Arte de Ponce, Ponce, P.R.
La Sonora, Trienal Poligráfica de Puerto Rico, San Juan P.R.
The Way In, curated by Io Carrion, Popular Center Building, San Juan P.R.
Post-Panamax, Diablo Rosso, Panamá City, Panamá
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Exhibition, De la Cruz Collection Contemporary Art Space, Miami, FL
2011
Painting Expanded, curated by Marysol Nieves, Espacio 1414, San Juan, P.R.
PARAÍSO, ltd los angeles, Los Angeles, CA
San Gerónimo 31, San Gerónimo 31, Colonia Centro, Mexico D.F.
Exhibición Re- Inauguración, Museo de Arte de Ponce, Ponce P.R.
2010
Exhibition, De la Cruz Collection Contemporary Art Space, Miami, FL
7x7, Galería S. XXI, Bogotá, Colombia
Michael D. Linares, Galería Altamira, Asturias, Spain
Mobile Spaces, Univesity of Wisconsin, Madison, WI
Ultrapuñeta, Proyectos Ultravioleta, Guatemala
2009
Geografía Humana, Museo de Arte de Puerto Rico, San Juan, PR
2008
En sus marcas... , Curated by Rebeca Noriega, Instituto de Cultura de Puerto Rico, San Juan, PR
Walter Otero Gallery, Circa Art Fair, San Juan, PR
2007
Galería Comercial, Art Basel Miami Beach, Miami, FL
BioKunst, Antwerp, Belgium
COMERCIAL, Nicole Klagsbrun Gallery, New York, NY
Crimes of Omission, ICA, University of Philadelphia, Philadelphia, PA
Galería Comercial, ArtLA, Los Angeles, CA
2006
Public Sculpture Art Project (with Galería Comercial), Art Basel Miami Beach, Miami, FL
Lisa Kirks Greatest Hits, The Wayward Cannon, London, U.K.
Galería Comercial, MACO, Mexico DF, Mexico.
The Galleries Show (with Galería Comercial), Extra City, Antwerp, Belgium
The S-Files II, Museo de Arte de Puerto Rico, San Juan, PR
The Lovers, CANADA Gallery, New York, NY
The Peace Tower, participation as part on Mark di Suvero & Rikrit Tiravanija’s project, Biennial,
Whitney Museum, New York, NY
2005
Ninjas killed my family, need money for Kung-Fu lessons, Galería Comercial, San Juan, PR
(Galería Comercial), NADA, Miami, FL
The S-Files, Museo del Barrio, New York, NY
Tropical Table Party, curated by María Inés Rodríguez, Centro d’ Art Santa Mónica, Barcelona, SP
2004
Galería Comercial, Stray Show, Chicago, IL
Group Show, Galería Sin Título, San Juan, PR
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
Javier Cambre, José Campeche, Michael Linares & Francisco Torres, Galería Comercial, San
Juan, PR
Bibliography
2016
Molly Taylor, Head, Shoulders, Knees and Toes, Elephant Magazine
Michelle Fiedler, Kadiview: Michael Linares, Kadist Art Foundation
2015
Michael Anthony Farley, NADA Highlights, Part 1, Art F City, 2015.
Mariela Fullana Acosta, Museo del Palo: Mirada a un objeto simple, El Nuevo Día, 2015.
2014
Pablo León de la Barra, Dispatch: Puerto Rico, Guggenheim blog, blogs.guggenheim.org 2014.
2013
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2011
Ursula Dávila, "Puerto Rico Art Scene: Not Only Reggeaton Gets Your Heartbeat
Racing!,www.fluentcollab.org
Sharon Mizota, "Art Review: Paraíso at Ltd Los Angeles", Los Angeles Times, 2011
2010
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Marion Maneker, “Free Beer at ARCO”, Art Market Monitor, 2010.
“Michael D. Linares: Oasis”, Vernissage TV, 2010.
Paloma Torres Pérez Soler, “Arco 2010”, ABC, Madrid, Spain, 2010.
2009
Suzie Walshe, “Visual Mind Games”, New York Arts Magazine, New York, NY, 2009.
Marisol Nieves, “Michael Linares, Found & Lost”, Arte al Día, Arte al Día Internacional, 2009.
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2007
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Star, September 2, 2007.
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Manuel Álvarez Lezama, “Michael Linares: Representante de una nueva generación de artistas
puertorriqueños”, Art Premium, Vol. 4, num. 19, 2007.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com
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Star, March 26, 2007.
Tomas Alva Edison 137, PB. Col. San Rafael. 06470. CDMX agustinaferreyra.com