2021 “Intervention to Vienna”

In large-format prints of with Fernando Pessoa’s poem

landscapes from Colombia “O Guardador de Rebanhos”,
and Brazil are placed as “The Herd Keeper”:
temporary additions to the
site. “(…)What a pity I feel for him. He was a
The graphic result rein- peasant
scribes the landscape in Who was a prisoner in liberty in the
the context of creating city.
intimate fictions. But the way he looked at the houses,
It also seeks to draw at- And the way he looked at the streets,
tention to the diasporic And the way he was interested in things,
component in the exercise Is that of one who looks at the trees
of identity building. And of one who lowers his eyes down the
street where he goes
The gaze and forced migra- And walks observing the flowers that are
tion are addressed here, in the fields”
aiming to create a dialog
I am claudia sandoval romero*,
an Austrian-Colombian journa-
list and artist in search of
her* collective identity.
My artistic position has deve-
loped through the use of media
such as photography, text and
video, combining sociological
methods with collective crea-
tion.

The core of my proposal is a

reflection on institutional
critique, feminism* and diaspo-
ra, from a decolonial perspec-
tive.

My approach to art is nurtured

by the driving force of crea-
ting of pedagogical spaces whe-
re horizontal exchange can take
place, as well as contributing
to debates about loss, mourning
and restitution of women* ha-
ving been denied a position in
the art field.

I am currently writing my dis-

sertation at the Academy of
Fine Arts in Vienna, supported
by a DOC Fellowship of the Aus-
trian Academy of Sciences.

Do we have something in
common?
Let‘s get in touch
claudia
sandoval
romero*
Künstlerin*
2015 „Motherhood in the Art World“

It consists of a two-part on, voicing and the gaze, gina José Galindo, Chris-
exercise: on the one hand, as well as migration and tine Hohenbüchler, Stepha-
the book deals with pio- capitalism. nie Misa, Tanja Ostojic
neering positions on mot- On the other hand, the vi- and Signe Rose, as well as
herhood that emerged bet- deo consists of interviews the curator and art histo-
ween 1960 and 1970, from with artists and a curator rian Vanessa Joan-Müller.
the perspective of mother who discuss precarious li-
artists. ving conditions of the art
world, and the complexity
Through the presenta- of finding a balance bet-
tion of works of around ween life and work in the
30 artists, the subject art field.
of “Motherhood in the Art
World” is connected to the The artists interviewed
politics of representati- are Renate Bertlmann, Re-
2021 “Strategies of Visibilization”

is a spatial installation Alain Quemin(2006) descri- The proposal aims to par-

that consists of the com- bes the center of the art ticipate in the discussion
plete listing of artists field as compound by the of positioning, privilege,
who participated in ex- United States and Europe, power relations and repre-
hibitions at the Museum or more precisely by a few sentation in the museolo-
moderner Kunst Stiftung western European countries gical context.
Ludwig Wien-mumok between with Germany at the core,
1998 and 2018. followed by UK, France and
Italy and sometimes Swit-
The analysis carried out zerland; countries that In words of Hito Steyerl
compares proportions of are among the world’s ri- (2011):
participation by gender chest nations.
and geopolitical origin.
“why shouldn’t the cul-
tural institution be at
least as representative as
parliamentary democracy?
Why shouldn’t it inclu-
de, for example, women in
its canon, if women were
at least in theory accep-
ted in parliament?” This
installation adds, „Why
should the cultural insti-
tution not include women
from the ‚global south‘ in
its canon?“