MARIA MAGDALENA CAMPOS-PONS
53+1=54+1=55/ Letter of the Year
Maria Magdalena Campos-Pons
55th Venice Biennial
Cuban Pavilion Entry
Museum of Archeology, Piazza San Marco, Venice
The Cuba Republic Pavilion, La Perversion de lo Clasico: Anarquia de los Relatos.
June 1 - Nov 24, 2013
Opening: May 31, 2013, 5:00 pm
53+1=54+1=55.Letter of the Year is a multimedia installation about home, migration, the necessity of finding and redefining the meaning of permanency and locality. Birdcages were used by emperors and common men to capture beauty and to dream of freedom. From Yoruba deities, to Leonardo da Vinci, to space travel today, men and women have always dreamed of flight as embodying a lightness of being.
The interviews in the birdcages document the reconstruction of a dialogue between Cuban residents and their family members who live abroad, and the transformative power of this exchange. The sonic environment is complemented by recordings of street criers, known as pregoneros, a reflection of the increased liberalization of small businesses that exists within a void of corporate control. The voices in the cages elude physical, political and cultural borders in contemporary society. The small videos featured inside the cages were conceived as a performative response to the historical weight of the exhibition site.
The installation is a construct of architecture and sound, old and new, evoking a country that is evolving. And, like birds, people keep singing their songs of hope and freedom.
53+1=54+1=55 / Letter of The Year is our response to the central theme of the 55th Venice Biennial: The Encyclopedic Palace. We have chosen the idea about sequence of numbers with great meaning for our personal and collective history, and awareness of the polarities and richness opened through our shared and contrasted identities as female/male, black/white, and Cuban/American.
This is a historical opportunity to represent Cuban culture at the 55th Venice Biennial. Neil and I have been producing installations over the last 20 years that championed cultural understanding, tolerance for differences and cosmopolitan dialogue as a bridge for better interactions among people. It is a gesture of historical importance for us to be exhibiting together with Cuban artists from the island and the diaspora as ambassadors of Cuban art in this prestigious forum. This invitation is a result of triumph of ideas we have cared for deeply in our collaborations and individual artistic efforts. We believe in the role of the artists and arts as the agents of change, societal transformation and poetical/political leadership for better future. Neil and I are protagonists of the generation that opened up a real dialogue between Cuba and the United States, which is a clear statement of the new era of shared dreams and restoration of good will between nations by the power of love and art. Our collaboration celebrates in essence the pinnacle of humanity; people to people reaching for support, tolerance and understanding.
53+1=54+1=55 / Letter of the Year is a multimedia installation about home, migration, the necessity of finding and redefining the meaning of permanency and locality, a reflection on the accumulation of knowledge both academic and vernacular, the raw beauty of street knowledge, the entrapments of search for information, that which is forbidden and that which is imposed. Migration and restless quest for freedom, intellectual, individual and communal, are intermingled matters that sustain each other. Those fundamental issues have built and brought down great individuals, nations and empires.
53+1=54+1=55 / Letter of The Year juxtaposes cultural symbols idiosyncratic to Cuban culture to those centered within Western canon, talking back to power and the structure of Eurocentric male dominance. The piece proposes an hommage to the countless lives lost, the daily rituals of survival and empowerment in the pursuit of freedom and in the search for selfhood. The ritualistic gesture of counting and keeping track of time which passes and the one to come, every day data minutiae of the precious experience of being alive and the invisibility of hidden dreams. The installation constructs a parallel to the grid of architecture and sound, old and new, always in motion, so typical of Cuban cities but also the cities around the world. The piece builds up from the installation Llegoo
FeFa premiered at the 11th Biennial of Havana (see review Art Forum Nov 2012) and reclaims small fragment of time and life in a grid, where time collapses and narratives juxtapose.
53+1=54+1=55 / Letter of The Year is centered in a massive structure of birdcages. Birdcages were used by emperors and common men to capture beauty and to dream of freedom. From Yoruba deities, to Leonardo d Vinci, to space travel today, men and women always dream of flight to embody a lightness that only a bird could have.
Birdcage is the architecture of restricted freedom. We are intrigued and interested in the immateriality and transparency of it, as a contrast to the permanency of its architectonic core. In the work we use birdcages as metaphorical vessels to capture imaginary and real dreams. 53+1=54+1=55 / Letter of The Year builds up an accumulation of fact data and video, while also exploring the sound of life buoyancy as a key element for communication by both birds and people. Sound eludes physical entrapment, and sonic culture has eluded physical, political and cultural borders in contemporary society; street vendors, fortune tellers, time keepers of various sources are vivid testimony of how everyday men/women resist the dominance and power wherever they are.
53+1=54+1=55 / Letter of The Year constructs a tapestry of sounds of urban Cuba, as the country evolves and the basic diversity of discourse changes in a dramatic and even theatrical way on the island, as well as in perceptions of the island from abroad.
Like birds, migratory beings par excellence, humans follow the desire to access new knowledge. Like birds, they construct temporary homes. Like birds, at times they found their wings shortened by the constraint of transparent cages. Like birds, they keep singing their songs of hope and freedom. The phrase "free as a bird" conjures the image of a bird singing. So does 53+1=54+1=55 / Letter of The Year.
Maria Magdalena Campos-Pons
Born Matanzas, Cuba
Massachusetts College of Art, Painting, Media Arts, Boston, MA
Higher Institute of Art (ISA), Painting, Havana, Cuba
National School of Art, Havana, Cuba
Currently teaches at the School of the Museum of Fine Arts in Boston
Boulder Colorado Museum Nov 8
Saint Ettiene Museum of Modern Art Dec France
Tufts University Sept Boston MA
Something about family, Neil Rudenstein Gallery Dubois Institute Harvard Cambridge MA US
Mama Reciprocal Energy Vanderbilt University Museum
Llegooo!!! Fefa 11 Havana Biennial Havana Cuba
1478 MB, Galería Latinoamericana de la Casa de las Américas, Havana, Jan 2012
What My Mother Told Me: The Art of Maria Magdalena Campos Pons, Harvey B. Gantt Center, Charlotte, NC.
Journeys, Frist Center for the Visual Arts, Nashvillie, TN
Sugar: Maria Magdalena Campos-Pons, Smith College Museum of Art, Northampton, MA
2010 Belonging and Longing - Maria Magdalena Campos-Pons: Works on Paper, Hess Gallery at Pine Manor College, Chestnut Hill, MA
Maria Magdalena Campos-Pons: Hope, Yes We Can, Bernice Steinbaum Gallery, Miami, FL
Maria Magdalena Campos-Pons: Works on Paper, Hess Gallery at Pine Manor College, Chestnut Hill, MA
Maria Magdalena Campos-Pons: Life Has Not Even Begun, Glass Curtain Gallery at Columbia University, Chicago, IL
Dreaming of an Island Spellman College Museum Atlanta GA
Maria Magdalena Campos-Pons: Everything is Separated by Water, Indianapolis Museum of Art, IN
Maria Magdalena Campos-Pons: Everything is Separated by Water, Bass Museum of Art, Miami Beach, FL
SONO QUI”, MARIA MAGDALENA CAMPOS-PONS, GALLERIA PACK, MILAN, CURATED BY SERGIO RISALITI, JUN 2006, Milan, Italy
Backyard Dreams, Julie Saul Gallery New York, NY
New Work, Bernice Steinbaum Gallery, Miami, FLPan African Exhibition of Contemporary Art, Museum of Modern Art, Salvador Bahia Brazil
3X3 Dak'Art Bienale: Threads of Memory, Dakar, Senegal Talking Pictures New Work, Bernice Steinbaum Gallery, Miami, FL Elevata, Howard Yezerski Gallery, Boston, MA
Something New, Something Old, Schneider Gallery Chicago IL
Interiority or Hill Sided Moon, La Marrana, Montemarcello, Italy
One Thousand Ways to Say Goodbye, Henie Onstad, Kunstsenter, Oslo, Norway
M.M. Campos-Pons, Gallery Pack, Milan, Italy
Nesting, Schneider Gallery, Chicago, IL
Nesting, Howard Yezerski Gallery, Boston, MA
Meanwhile the Girls Were Playing, MIT List Visual Arts Center, Cambridge, MA
Unfolding Desires, Hallwalls, Buffalo, NY
Spoken Softly with Mama, National Gallery of Canada, Ottowa, Canada
History of People. . . Part I, "A Tonw Portrait," Lehman College, NJ
M.M. Campos-Pons, Sustenance, Martha Schneider Gallery, Chicago, IL
Abridor de Caminos, Martha Schneider Gallery, Chicago, IL
M.M. Campos-Pons, New Work, Ambrosino Gallery, Coral Gables, FL
When I am not Here. Estoy Alla, The Photographers Gallery, Saskatoon, Canada
When I am not Here. Estoy Alla, The Caribbean Cultural Center, New York, NY
M.M. Campos-Pons, New Work, Martha Schneider Gallery, Chicago, IL
History of People Who Were Not Heroes, Bunting Institute of Radcliffe College, Harvard University, Cambridge, MA
Recent Work, Miami Dade Community College Gallery, Miami, FL
Let me Tell You, INTAR, Latin American Gallery, New York, NY
Racially Inscribed Body, Akin Gallery, Boston, MA
Como el Cuerpo de un Hombre es un Arbol … / … How the Body of a Person is a Tree…, Gallery La Centrale/Powerhouse, Montreal, Canada
Amuletos/Amulets, Burnaby Art Gallery, B.C., Canada
Sangre Negra/Black Blood, Gallery Burning, Montreal, Canada
A Woman at the border/Una Mujer en la Frontera, SOHO 20 Gallery, New York, NY
A Woman at the Border/Una Mujer en la Frontera, Presentation Room JPL Building, Banff Centre for the Arts, Canada Embassy Cultural House, London, Ontario, Canada
Isla/Island, Castillo de la Fuerza/Castle of Royal Force, Havana, Cuba
Erotic Garden or Some Annotations on Hypocrisy/Jardin Erotico, Kennedy Building Gallery, Massachusetts College of Art, Boston, MA
Contemporay Collection MFA Boston
Storytellers Sternersen Museum Oslo Norway
Contemporary Collection Sackler Museum Harvard University Cambridge MA
Marco Puntin e Honathan Turner, Feb 2012
Queloides Dubois Institute Harvard University Cambridge Boston
The Space 8th Floor New York Nrew York US
Group Show Bernice Steinmbaum Gallery Miami US
Queloides Mattress Factory Pittsburg PA US
Ajiaco: Stirrings of the Cuban Soul, Newark Museum, Newark, NJ
Afro Modern: Journeys through the Black Atlantic, TATE Liverpool, Liverpool, England
Off the Beaten Path: Violence, Women and Art, Stenersen Museum, Oslo, Norway
NeoHooDoo: Art for a Forgotten Faith, P.S.1 MoMA, Long Island City, NY
CONTINENTS, Spazio Paraggi, Apres-Paris, Treviso, CURATED BY Valerio Dehò, Oct 2009
THE THIRD GUANGZHOU TRIENNIAL, The Guangdong Museum of Art, Guangzhou, China, curated by Gao Shiming, Sarat Maharaj, Johnson Chang Tsong-Zung, Sept 2008
PORT CITY: ON MOBILITY AND EXCHANGE, ARNOLFINI, BRISTOL, SEPT 2007
- 2° BIENAL INTERNACIONAL DE ARTE CONTEMPORANEO DE SEVILLA, Centro Andaluz de Arte Contemporaneo y Reales Atarazanas, Sevilla, curated by Okwui Enwezor, Oct 2006
WAITING LIST-TIME AND TRANSITION IN CONTEMPORARY CUBAN ART, Mestna Galerija, Ljubljana, curated by Elvis Fuentes, Dec 2006 Dipersed MoAD SanFrancisco CA
Retratos: 2,000 Years of Latin American Portraits, Smithsonian Museum, Washington, DC
MADONNA, Blekinge Museum, Karlskrona, curated by Torun Ekstrand, Oct 2006
OLTRE LILITH, Scuderie Aldobrandini, Frascati, CURATED BY Rosetta Gozzini, OCT 2006
Getting Emotional, The Institute of Contemporary Art, Boston, MA
Pan African Exhibition of Contemporary Art, Museum of Modern Art, Salvador Bahia Brazil
RAMPA - Signaling New Latin American Art Initiatives, Arizona State University Art Museum, Tempe, AZ
Some Color: A Color Photography Exhibition, Howard Yezerski Gallery, Boston, MA
Dreaming Now, The Rose Museum, Brandeis, Waltham, MA
Retratos: 2,000 Years of Latin American Portraits, El Museo del Barrio, NY, NY
Dispersed, Museum of the African Diaspora, San Francisco, CA
ARCO International Art Fair, Galleria Pack, Madrid, Spain Palm Beach Art Fair, Bernice Steinbaum Gallery, Palm Beach, Fl
Dak'Art, the Biennial of Contemporary African Art, 6th edition, Dakar, Senegal
Visualizing Diaspora/ Constructing Self, GASP Gallery Artists Studio Projects, Brookline, MA Art Basel, Bernice Steinbaum Gallery, Miami Beach, FL
De lo que soy/Of what I am, Lehman College Art Gallery, Bronx, NY
Rembrance Fields, Echigo-Tsumari Art Triennial, Japan
Howard Yezerski Gallery, Boston MA
Inside/Outside, Charlotte and Philip Hanes Art Gallery, Wake Forest University, Winston-Salem, NC
Only Skin Deep, ICP, New York, NY
Chicago Art Fair, Galleria Pack, Chicago, IL
Art Through the Eye of the Needle, Henie Onstad Kunstsenter, Oslo, Norway
Portrait as Performance, Hand Workshop Art Center, Richmond, VA
Authentic/Ex-centric: Africa in and Out Africa, 49th Venice Biennale, Venice, Italy
Unpacking Europe, Museum Boijmans Van Beuningen, Rotterdam, Netherlands
Museum Eki, Kyoto; Tkamatsu City Museum of Art Japan Museum of Contemporary Art, Sapporo, Japan
Tokyo Metropolitan Museum of Photography, Tokyo, Japan
Visibility, Museum of Contemporary Art, Baltimore, MD
Ackland Art Museum, The University of North Carolina at Chapel Hill, NC
Davis Museum and Cultural Center, Wellesley College, Wellesley, MA
The Likeness of Being, Contemporary Self Portraiture by 60 Women Artists, DC
Moore Gallery, NY The Rutgers Center for Innovative Print & Paper Annual Exhibition, NB, NJ
Religion, Contemporary Interpretations by Women, The Art Gallery University of New Hampshire, NH
Liverpool Biennial of Contemporary Art, Liverpool, UK
Uncommon Perspectives, South Shore Art Center, Cohasset, MA Spirit Manifest, Religious Imagery in Current Boston Art, Gallery NAGA, Boston, MA
Desde el Cuerpo, Alegoria de lo Femenino, Museo de Bellas Artes, Caracas, Venezuela
Ritual Acts Videos by Women, Decordova Museum, MA Croosing/Traversee, National Gallery of Canada, Ottowa, Canada
Trade Routes, Johannesburg Biennale, Johannesburg, South Africa
Invasion, Saaremaa Biennale, Kuressaare, Estonia
Caribbean Vision: Contemporary Painting & Sculpture, Smithsonian, Washington DC
The Constructed Photograph, Addison Gallery of American Art, Philips Academy, Ma
The Portrait as Object / The Figure as Ground, Howard Yezerski Gallery, Boston, MA
Caribbean Visions: Contemporary Painting and Sculpture, Wadsworth Atheneum, CT
Skin, M.M. Campos-Pons & Sandy Slone, Crieger/Dane Gallery, Boston, MA
Grifu, Campos-Pons, Carlos Cardenas, Tomas Esson, C.M.A.C., Cambridge, MA
Latin American Artists, DNA Gallery, Provincetown, MA
Caribbean Visions: Contemporary Painting and Sculpture, Center for the Fine Arts, FL
Witness, Leonard & Bina Ellen Art Gallery, Montreal Quebec
Edmontan Art Gallery, Alberta
Dunlop Art Gallery, Regina, Saskatchewan, Canada
Southeast Museum of Photography, Daytona Beach, FL
Latin American Women Artists, 1915 - 1995, Denver Art Museum
National Museum of Women in the Arts, Washington DC
Center for the Fine Arts, Miami, FL
My Magic Pours Secret Libations, Museum of Fine Arts, Florida State University, Tallahassee, Fl
Latin American Women Artists, 1915 - 1995, Milwaukee Art Museum
Phoenix Art Museum, NM
Cuba, La Isla Posible, Centre de Cultura Contemporania, Barcelona, Spain
Human/Nature, The New Museum of Contemporary Art, New York, NY
Rejoining the Spiritual: The Land in Latin American Art, The Maryland Institute College of Art, Baltimore, MD
Fotofest, International Festival of Photography, George R. Brown Convention Center, TX
Transcending the Borders of Memory, Norton Gallery & School of Art, FL
Trade Routes, The New Museum of Contemporary Art, NY
Witness, Presentation House Gallery, North Vancouver, Canada
Seventh Triennial Exhibition, Fuller Museum of Art, Brockton, MA
Memos for the Next Millennium, Boston Center for the Arts & the Space, Boston, MA
4 Artists Edition, The Space, Boston, MA
The Year of the White Bear, (a project of Guillermo Gomez Peña/Coco Fusco), Mexican Fine Arts Center Museum, Chicago, IL
Otis School of Art and Design, Los Angeles, CA
El Corazon Sangrante/The Bleeding Heart, Fundacion Museo de Bellas Artes, Caracas, Venezuela
Ways to See: New Art From Massachusetts, Institute of Contemporary Art, Boston, MA
The Year of the White Bear, The Walker Center for the Arts, Minneapolis, MN
Our View of Struggle, Gallery 44, Center for Contemporary Photographs, Toronto, Canada
Ethos, The York Quay Gallery, Harbor Front, Toronto, Canada
El Corazon Sangrante/The Bleeding Heart, Contemporary Art Museum, Houston, TX
Institute of Contemporary Art, Philadelphia, PA
Mendel Art Gallery, Saskatoon, Saskatchewan, Canada
Newport Harbor Art Museum, CA
Africa in America, Traveling Show from 4th Biennial of Havana, Spain
IV Biennial de La Havana, National Museum of Fine Arts, Havana
El Corazon Sangrante/The Bleeding Heart, Institute of Contemporary Art, Boston, MA
Senki Sem Sziget/No Man is an Island, Ernst Muzeum, Budapest, Hungary
Cuba OK, Stadische Kunsthalle, Dusseldorf, Germany
No Man is an Island: Young Cuban Art, Porin Taidesmuseo, Finland
Flaffy Palace, Vienna, Austria
The Sculptural Object, Center for the Development of Visual Art, Havana, Cuba
Contemporary Art from Havana, Contemporary Art Museum of Sevilla, Spain
Contemporary Art from Havana, Riverside Studios, London, UK
Aberstwyth Arts Centre, Dyfed, Wales
Made in Havana, Museum of Contemporary Art, Brisborne, Australia
Raices en Accion, Nuevos Artistas Cubanos/Roots in Action, New Cuban Artists, North Lima Art Museum, Peru
Museum of Modern Art, Caracas, Venezuela
Lo Erotico en el Arte, University of Havana, III Biennial of Havana, Cuba
Made in Havana, Art Gallery of New South Wales, Sidney
Australian Center for Contemporary Art, Melbourne, Australia
Raices en Accion Nuevos Artistas Cubanos/Roots in Action, New Cuban Artists, Museum of Art Carrillo Gil, Mexico
Havana in Madrid, Centro Cultural de la Villa, Madrid, Spain
Exhibition of Cuban Painting, House of Culture, Ibn Khaldoun, Tunisia, Africa
Signs of Transition: 80's Art from Cuba, MOCHA, New York, NY
Maris Gallery, Westfield State College, Westfield, MA
Cuban Art in Boston, Massachusetts College of Art, Boston, MA
Creadoras Cubanas/Cuban Woman Creators, National Museum of Fine Arts, Havana, Cuba
Contemporary Cuban Art, GalleryTetriakov, Moscow, Russia
The Love, National Museum of Fine Arts, Havana, Cuba
Veintitantos Abriles, Havana Gallery, Havana
Cuba Aire Fresco / Fresh Air, Fund of Good Culture, Havana, Cuba
Museum of Modern Art, New York, NY US
The Art Institute of Chicago, Chicago, IL US
The Whitney Museum of American Art, New York, NY US
Polaroid Collection, Boston, MA US
The Fog Museum Harvard University Cambridge MA US
The Norton Museum, West Palm Beach, FL US
The National Gallery of Canada, Ottawa, Canada
The Mac Arthur Foundation, Chicago, IL US
Vancouver Art Gallery, Vancouver, Canada
Museum of Fine Arts, Boston, MA US
Rutgers University Center for Innovative Print and Paper, NJ US
The Museum of the National Center of African American Artists, Boston, MA US
Ludwig Forum for International Art, Aachen, Germany
The Museum of Contemporary Art, Tokyo, Japan
Fort Lauderdale Museum of Arts, FL US
National Museum of Fine Arts Havana, Cuba
Center for the Development of Visual Arts, Havana, Cuba
The Good Culture Fund, Havana, Cuba
Davis Museum and Cultural Center, Wellesley College, Wellesley, MA
Worcester Art Museum, Worcester, MA US
The Victoria and Albert Museum London UK
De Cordova Museum, Lincoln, MA US
High Museum of Art, Atlanta, GA US
Spellman College Museum of Fine Arts GA US
Vanderbilt University Museum of Art Nashville TN US
Casa De las Americas Havana Cuba
21 C Museum, Louisville, KY US
Jordan Schnitzer Museum of Art at the University of Oregon, Eugene, OR
Miami Art Museum, Miami, FL US
La Marrana Arte Ambientale Italy
Smith College Museum Nort Hamptom MA US
AWARDS & FELLOWSHIPS
Woman of Color Award Boston MA US
Woman of Courage Boston MA US
Hispanic Alianza Award Nashville TN US
The Jorge Hernandez Leadership in the Arts Award, MA US
Rappaport Prize MA US
The Artist Resource Foundation, MA US
LEF Foundation, Cambridge, MA US
Polaroid Artist Support Program, Boston, MA US
The Louis Comfort Tiffany Foundation Grant, NY US
Visiting Foreign Artist, The Photographer's Gallery, Saskatoon, Canada
Visiting Artist, Rutgers University Center for Innovative Print and Paper, NJ US
Polaroid Artist Support Program, Boston, MA US
Ella Jackson Artist and Scholars Fund, Truro Center for the Arts Castle Hill, MA US
Nominated for the Rockefeller Foundation Intercultural Film/Video Multimedia Fellowship Installation / Interactive Category, NY US
Nominated for the CalArts/Alpers Award CA US
Art Reach 95 Award, National Congress of Art & Desing, Salt Lake City, UT US
BAM, Visual Artist Initiative, finalist
94 - 93
US Bunting Fellowship, Radcliffe College at Harvard, Cambridge, MA US
New England Foundation for the Arts, Regional Fellowship, MA US
Nominated for the CalArts/Alpert Award in the Arts CA US
Foreign Visiting Artist Grant, Media Arts, Canada Council Painting Fellowship, The Banff Centre, Alberta, Canada
Painting Fellowship, The Banff Centre, Alberta, Canada
Medal of Honor, City of Guanabacoa, Cuba
Honorary Mention - XVII International Festival of Painting, Cagnes Sur Mer, France
Symposium of Scientific Studies, Research Award, Higher Institute of Art, Havana, Cuba
Mention, Painting - 13th of March Competition, University of Havana, Cuba
Llego Fefa Opening of 11th Havana Biennial ( live Performance) Wifredo Lam Centro sea Arte Contemporaneo May 11 2012 Havana Cuba
Llego Fefa Projecto Behind The Wall May 13 2012 Malecon Havana Cuba
Llego FeFa 14MB Casa De lAs Americas feb 23 2012 Havana Cuba
Journeys Frist Center for Visual Arts Auditoriun Oct 2011 Nashville TN US
Regalos Remis Auditorioum MFA
Regalos IMA IN US
Dry Eyes Weet Feet InIVA Rivington Place Place London UK
Domestic Rhapsody; Getting Emotional (live performance ,45 minutes) ICA Boston MA
One Stich at a Time, (live performance, 60 minutes) Henie Onstad Museum, Oslo Norway
Intervention (live performance, 15 minutes) Art in General, New York, NY US
Letter to My Mother, (live performance, 45 minutes), The National Museum of Women in the Arts, Washington DC US
Letter to My Mother (live performance, 45 minutes) Colloquium Room, The Bunting Institute of Radcliffe College, Cambridge, MA US
Letter to My Mother (live performance, 45 minutes) Norton Gallery of Art, West Palm Beach, FL
Foto Fest, George Brown Convention Center, Houston, TX
The Seven Powers Come by the Sea, (live performance 30 minutes), Miami Dade Community College, Gallery North, Miami, FL
La Voz del Silencio / The Voice of Silence, (live performance, 3 hours), The Space, Boston, MA Baño Sagrado / Sacred Bath, (3/4" video, 30 minutes), INTAR Latin American Gallery, New York, NY
Bunting Institute of Radcliffe College, Cambridge, MA
The Seven Powers Come by the Sea, (live performance, 1 hour), Institute of Contemporary Art, Boston, MA
La Voz del Silencio / The Voice of Silence, (live performance, 3 hours), Gallery La Centrale / Powerhouse, Montreal, Canada
Baño Sagrado / Sacred Bath, (3/4" video, 30 minutes), Commissioned by the Western front Society, Vancouver, Canada
Rito de Iniciacion / Rite of Initiation, (Film, Boston), Banff Centre for the Arts, Alberta & Satellite Exchange / Video Inn, Vancouver, Canada
Ontario College of Art, Toronto, Canada
Rito de Iniciacion / Rite of Initiation, (Film, Boston), Film Society, Massachusetts College of Art, Boston, MA
Collective for Living Cinema, NY
IV International Electroacoustic Music Festival, Varadero, Cuba
Department of Afro American Studies, Yale University, CT
Center Wifredo Lam, Higher Institute of Art, Havana, Cuba
Art and Sex Conference, (installation), Garden of NEAC, Havana, Cuba
Art New England
Art Practice as Research
Art In America
Boston.com - "Sugar" is a bittersweet autobiography
El Nuevo Herald - Maria Magdalena Campos Pons: rituales de sanacion
New England Journal of Aesthetic Research, Maria Magdalena Campos-Pons
Creative Loafing Atlanta
Elliot Museum Making a dispora connection through art
Collection for Cincinnati Museum; Rappaport Prize; Kapoor for Haus der Kunst
Wynwood The Art Magazine,
Maria Magdalena Campos Pons Everything is Separated by Water
The Persistence of Memory by Hilarie M Sheets Feb 2007
Cuban artist connects memories of a framented life
The New England Journal of Aesthetic Research
Maria Magdalena Campos Pons
Miami New Times
ART REVIEW | 'LEGACIES: CONTEMPORARY ARTISTS REFLECT ON SLAVERY'
At Historical Society, Emancipation Remains a Work in Progress New York Times June 20 By Holland Cotter
Guide New York, Cover NY NY
Fardy, Jonathan, " A GASP of Fresh Air", ArtsMedia, March- April
Edgers, Geoff, "Perchance to Dream", Boston Globe, February 4
McQuaid, Cate " Art Blossoms Around the City", Boston Globe, December 26
Temin, Chrisitine, " Getting Under the Skin", Boston Globe, February 13
Hopkins, Randi, "Mother Nature on the Run", Boston Pheonix, September 10 2001
Temin, Christine. "From Cuba to Boston to Venice." Boston Sunday Globe. July 1.
McQuaid, Cate. "Left speechless by the power of her silence." Boston Globe. October 12.
Consoli, Grace. "Meanwhile, the girls were playing." ArtsMedia. November - December.
Temin, Christine. "A delicate spin on a life in Cuba." Boston Globe. November 17.
Wildman, David. "Technology doesn't overwhelm the art." Boston Globe, October.
Costa, E. "Campos-Pons at MoMA and Lehman College." Art in America. April.
Bell, Lynn. "History of people who were not heroes. A conversation with MMCP. Third Text. Summer/Fall. London.
Valle, Olga. "Maria Magdalena Campos-Pons." Glass. Number 72, Fall.
Munoz, Ibanez. "En Torno al trabajo de MMCP en Nueva York. Las Provincias. May 9, Spain.
Zimmer, W. "One show ponders a cause & the other reviews a heritage". New York Times. April 19.
Klawans, S. "Critic's Choice, Museums." Daily News. May 16.
Wilson Lloyd, A. "Magdalena Campos-Pons." Sculpture, February.
Unger, Miles. "Magdalena Campos-Pons." ARTnews, January.
Sherman, Mary. "Photos stripped of color evoke pain, poignancy." Boston Herald, January 16.
Tarlow, Lois. "The divided heart of M.M. Campos-Pons." Art New England. April.
Robertson, S. "The artist as creator . . . and canvas." The Star Phoenix, April 5, Canada.
Turner, Elisa. "Latin American women show." The Herald, June 16.
McQuaid, Cate. "Artwork that gets under the skin." The Boston Globe, October 17.
Silver, Joanne. "Cuba-America 'paints' with eyelashes." The Boston Herald, December 6.
Damian, Carol. "Transcending the borders of memory." ARTnews, March.
Anere, Morgan. "Transcending the borders of memory." Art in America, May.
Miller, Randy. "Transcending the borders of memory." Art Papers, May/June.
McEntire, Frank. "Art from far, wide at Salt Lake City." The Salt Lake Tribune, September 17.
Medina, Meg. "Bordering on Excellence." Palettes, November 2.
Hurlburt, Roger. "Going Home." Sun Sentinel, October 2.
Fusco, Coco. "M.M. Campos-Pons at INTAR." Art in America, February.
Cohn, Terri. "Shaped identities: The photographic object." Camerawork, Spring/Summer.
Stapen, Nancy. "A personal vision of the slave trade." The Boston Globe. June 28.
McQuaid, Cate. 'Heroic Histories." The Boston Phoenix, June 12.
Kohen, Helen. " Arts blends Cuban feminine, African." The Miami Herald, March 12.
Giuliano, Mike. "Latin-American artists at MICA." City Paper, March 6, Baltimore.
Laurence, Robin. "New points of view." The Weekend Sun, November 27, Vancouver, Canada
McQuaid, Cate. "Five-for-all." The Boston, Phoenix, September 18.
Lopez, Sebastian. "Made in Havana." Lapiz, No. 85, March, Madrid.
Murphy, Jay. "Art challenges colonization: The IV Havana biennial." Cuba Update, April.
Johnson, C. P. "Blood and Tears." Houston Chronicle, March 6.
Johnson, Ken. "Hearts and Minds." Art in America March Le Blanc, Odette. "How the human body is a tree." Images, March 19.
Dumont, Jean. "A la croisee des cultures." Le Devoir, January 28, Montreal, Canada
Girouard, Eric. "L'eau, le lait el le sang." Le McGill Daily Francais, January 28, Montreal, Canada
Contrera, Carmen. "The art of M. Campos." Aquellarre #7/8, Vancouver, Canada
West, Alan. "The bleeding heart: Motif pervades a contemporary exhibit." Christian Science Monitor, December 10. Lopez, Sebastian. "Cuban art in the '80's." Art i, #6, Amsterdam, Holland.
Mosquera, G. "Feminismo en Cuba?" Revolution and Culture, June, Havana, Cuba.
1989 Mosquera, G. "Renovacion en los 80's." Revolution and Culture, June, Havana, Cuba.
Hilton, Tim. The Guardian, November 1, London, England.
Mosquera, G. Revolution and Culture, April, Havana, Cuba.
Caballero, Rulfo. "Sin hoja de parra." Juventud Rebelde, November 17, Havana, Cuba.
PUBLIC ART COMMISSIONS
Imole Blue , Vanderbilt University Garden Nashville TN
Not Just Another Day. Donnell Media Center New York Public Library.
Space for Love (permanent installation in Embassy Hotel, Room 44), London, Ontario, Canada.
Wall Installation. Hospital Provincial de Pinar del Rio, Commissioned by the Cuban Fund for the Fine Arts, Cuba.
Zadok Gallery Art Maimi Dec 2013
Bernice Steinbaum Art Miami Dec 2012
MIA - MILAN IMAGE ART FAIR, Superstudio Più, Milan, May 2011
Bernice Steinbaum Art Miami Dec 2010
ART MIAMI, Galleria Pack Milan The Art Miami Pavillion, Miami, Nov
ART MIAMI, Galleria Pack Milan Winwood Art District, Miami, Dec 2007
ARCO’07, Feria de Madrid Galleria Pack Milan , Madrid, feb 2007
ARCO’06, Feria de Madrid, Galleria Pack Milan Madrid, Feb 2006
PHOTO NEW YORK, METROPOLITAN PAVILLION, NEW YORK, Galleria Pack OCT 2006
ARTISSIMA 13, Lingotto Fiere, Turin, Galleria Pack Nov 2006
PHOTO MIAMI, Winwood Art District, Galleria Pack Milan Miami, Dec 2006 Miami
MARIA MAGDALENA CAMPOS-PONS