Patricia Carolina occupies poetry and humor as tools in her work. Her practice as a multidisciplinary artist deals with kinetic and time based aspects of material that move, morph and evolve. Her experience living in Mexico City, an overpopulated place with water problems, and Reykjavik, a town with abundant water resources, is a determining factor in the development of her studio practice. Often referring to the contradictory character of water; a mundane but vital part of the everyday with the power to wash away any sign of that we were ever here. 

 

In her work, the use of ephemeral materials and the implication of her body in performances is an approach to different ways of understanding time, labor, migration, translation and water. Patricia is based in Reykjavik and graduated from Listaháskóli Islands in 2019. She has exhibited in Mexico and abroad.

Patricia Carolina  B. in Durango, Mexico (1993) 

 Living and working in Reykjavik, Iceland.

 

 

Bachelor in Visual Arts at Listaháskóli Íslands, Iceland University of the Arts (2019)

2014 - 2017  Bachelor in Fine Arts at the National School of Painting, Sculpture and Engraving “La Esmeralda”, Mexico City.

 

Solo exhibitions

2019      Goodbye songs for unpotted flowers, Flæði Gallery, Reykjavik. 

2018      Employee of the month in eight steps,  RYMD Gallery, Reykjavík.

  City of The Immortals, Kubbur, Reykjavik.

 

Group shows

2019    It is raining, Vatnshelda Gallery, Reykjavik

           Þetta hefur aldrei sést áður, Kjarvalstaðir, Reykjavík.

5 - 9, Kirsuberjatréð, Reykjavík.

Suðsuðves, Segull 67, Siglufjörður.

Hugarflug, Laugarnesvegur 91, Reykjavik.

2018    Háflæði, Lækningaminjasafninu, Reykjavík. 

Maybe it´s The Weather, Kosminen Gallery, Helsinki.

Take Part in a Party and Take Everything Apart, RYMD Gallery, Reykjavík. 

Móttaka, Laugardalslaug, Reykjavík.

Discipline on errands of life, Laugardalslaug, Reykjavík.

2017    Eitthvað kemur upp úr kafinu, Brautarholtí, Reykjavík.

2014    Punto de encuentro. Azcapotzalco culture house, Mexico City.

2013    .02. Arscite, Mexico City. 

2012    No es el fin. Culture House of Durango, Durango.

 

 

Publications

BRUNO, Ana Victoria, Sophie Durand and Brontë Jones eds., Maybe is the Weather,  Hertfordshire, UK: 2018.

CAROLINA, Patricia. Regarding the Spillage of the Bodies, Agency, Labor and Language. Reykjavík: 2019. Available in: http://hdl.handle.net/1946/340.

Sigurðarson, Starkaður ed, Myndlist MA&BA, Listaháskolí Íslands, Reykjavík: 2019.

 

 

Residencies

2019               Between mountains. Tatra mountains, Poland.

Herhúsið. Two weeks program at Alþýðuhúsið. Siglufjörður, Iceland.

 

Memberships

2019              Reykjavik Sculpture Association, Iceland.

 

Professional

2019             Free time monitor for 3rd grade children, Dalheimar, Reykjavik. 

            Supportive parent, Kopavogursbaer, Kopavogur.    

2018                  Intern of the “Wind and Weather Window Gallery”   

          during the Reykjavík Arts Festival.

2015 - 2017  Visual artist assistant, Studio Pablo Cotama. Mexico City.

2016             Workshop manager in Distropia Collective, II Cultural  

                     encounter at the Oaxacan Coast, Oaxaca.

 

Selected experiences 

2019             Assistent in “Plan B” Art Festival, Borgarnes. 

         Participant in “Hugarflug Festival”, Reykjavik.

         

                     Gardener. Laugadalur, Reykjavikborg. 

2018 - 2019  Bartender and cashier at “Seafood and Bubbles” Reykjavik

2018             Cocurator in Klappastígur 12, Reykjavík.

2017 - 2018 Cashier in “La Poblana”. Hlemmur Mathöll. 

2016             Art designer short film Madre Tierra by Edgar Sahe. Mexico. 

2013             Jewerly maker and seller at artesian street market “La 

                     Doctores”, Mexico City.

 

Upcoming

Off-venue Sequences IX Festival, https://sequences.is, Reykjavik.

Only Mountains never meet. Derive at Tatra Mountains, Poland.

Internship at studio Chiara Camoni. Fabbiano Lucca, Italy.

Llovizna, 2018. Digital photography, digital drawing.