Lucia Koch No more things.

Transcription

1 Lucia Koch

2 Lucia Koch uses interventions, installations, videos and photographs to explore the means for effecting change in one s experience of the environment. Whether through covering architectural façades, skylights and windows with translucent materials or filters, by creating new layers between spaces, or by producing photographs that challenge perceptions of scale, Koch s interest lies in creating altered states of place, utilizing light and color to transform our spatial experiences. Koch lives and works in São Paulo, Brazil. Exhibiting internationally, she recently held a solo exhibition, La temperatura del aire, at el Centro de Arte Contemporáneo de Caja de Burgos (CAB), Burgos, Spain (2015) and was included in Condemned To Be Modern, Los Angeles Municipal Art Gallery, Los Angeles, CA (2017); Transparência e Reflexo, Museu Brasileiro da Escultura, São Paulo, Brazil (2016); Jameel Prize 4, Pera Museum, Instanbul, Turkey (2016); Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH (2014); A Sense of Place, Pier 24 Photography, San Francisco, CA (2014); Re-emerge: Towards a New Cultural Cartography, 11th Sharjah Biennial, United Arab Emirates (2013); Another Place, Museum of Modern Art of São Paulo, Brazil (2011); and When Lives Become Form, Yerba Buena Center for Arts, San Francisco, CA (2009) and Contemporary Art Museum, Tokyo, Japan (2008). She has participated in the 11th Biennale de Lyon, France (2011); the 27th Bienal de São Paulo, Brazil (2006); the 2nd, 5th and 8th editions of the Mercosul Biennial in Porto Alegre, Brazil (1999, 2005 and 2011); and the 8th Istanbul Biennial, Istanbul, Turkey (2003). Collections include the Los Angeles County Museum of Art, CA; Musée d Art Contemporain de Lyon, France; Pinacoteca do Estado de São Paulo, Brazil; and Museu de Arte Moderna de São Paulo, Brazil; among others.

3 Lucia Koch No more things. September 9 - October 28, 2017 Christopher Grimes Gallery is pleased to announce a solo exhibition of new works by Lucia Koch, in conjunction with Pacific Standard Time: LA/LA s participating gallery program. In No more things. Koch will present a continuation of her Fundos series: photographs of the interiors of empty boxes, bags, and packages, manipulated to house and reflect light and mimic architectural scales. Koch began photographing for the Fundos series in 2001 while reading Paul Auster s dystopian novel, In the Country of Last Things, which tells the story of a collapsed society with no economy or industry, in which the population must resort to selling scavenged, nearly forgotten objects to survive. In this collection of new photographs, Koch explores the feeling of vacuity when objects become obsolete and only their negative space is left behind. The result is a series of disorienting portals that hint at the inevitable downfall of a materialistic society. Installation view, Christopher Grimes Gallery, Santa Monica, CA, 2017

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8 Cleanser, 2017, pigment print on cotton paper, UV matte laminate, 44-1/4 x 68-3/4 x 1 inches, 111 x x 2.5 cm, edition of 6, with 2 AP

9 Pão, 2017 pigment print on cotton paper, UV matte laminate 87-3/4 x 48-1/8 x 1 inches 219 x x 2.5 cm edition of 6, with 2 AP

10 Dori, 2017, pigment print on cotton paper, UV matte laminate, 32-1/2 x 73-3/4 x 1 inches, 82.6 x x 2.5 cm, edition of 6, with 2 AP

11 Cat Food, 2017 pigment print on cotton paper, UV matte laminate 91-3/4 x 44-1/4 x 1 inches 233 x x 2.5 cm edition of 6, with 2 AP

12 Helmet, 2017, pigment print on cotton paper, UV matte laminate, 44-1/4 x 61-5/8 x 1 inches, x x 2.5 cm, edition of 6, with 2 AP

13 Green Juice, 2017 pigment print on cotton paper, UV matte laminate 44-1/4 x 28-7/8 x 1 inches x 73.3 x 2.5 cm edition of 6, with 2 AP

14 Forest, 2017 pigment print on cotton paper, UV matte laminate 62-1/4 x 39-3/8 inches 158 x 100 cm edition of 6, with 2 AP

15 CHECKLIST (To request pricing information, please click on a description): Cleanser, 2017 pigment print on cotton paper, UV matte laminate 44-1/4 x 68-3/4 x 1 inches 111 x x 2.5 cm edition of 6, with 2 AP Helmet, 2017 pigment print on cotton paper, UV matte laminate 44-1/4 x 61-5/8 x 1 inches x x 2.5 cm edition of 6, with 2 AP Pão, 2017 pigment print on cotton paper, UV matte laminate 87-3/4 x 48-1/8 x 1 inches 219 x x 2.5 cm edition of 6, with 2 AP Green Juice, 2017 pigment print on cotton paper, UV matte laminate 44-1/4 x 28-7/8 x 1 inches x 73.3 x 2.5 cm edition of 6, with 2 AP Dori, 2017 pigment print on cotton paper, UV matte laminate 32-1/2 x 73-3/4 x 1 inches 82.6 x x 2.5 cm edition of 6, with 2 AP Forest, 2017 pigment print on cotton paper, UV matte laminate 62-1/4 x 39-3/8 inches 158 x 100 cm edition of 6, with 2 AP Cat Food, 2017 pigment print on cotton paper, UV matte laminate 91-3/4 x 44-1/4 x 1 inches 233 x x 2.5 cm edition of 6, with 2 AP

16 Lucia Koch let there be a set X July 10 - September 4, 2015 Christopher Grimes Gallery is pleased to announce a solo exhibition of new works by Lucia Koch. Throughout her career Lucia Koch has become known for her interventions within existing architecture, either through her use of sculpture, photography, video or colored filters. In this, her second exhibition with the gallery, she will intersect the entire space with a gradient printed on fabric something that moves in space but is constant, subtle, transformative and never repeating. In addition, ordinary windows will be replaced with colored panels disrupting one s expectation, and images of small, empty containers enlarged to architectural scale disassociate the photographs from their references and challenge how we relate to space. Through all of these strategies, Koch elevates basic elements of architecture to effect change in one s immediate atmosphere and physical surroundings. Installation view, Christopher Grimes Gallery, Santa Monica, CA, 2015

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21 Lucia Koch (a small show with a lot of space in it) May 11 - June 29, 2013 Christopher Grimes Gallery is very pleased announce an exhibition of new work by Lucia Koch. This will be Koch s first solo exhibition in the United States and her first with the gallery. Koch uses interventions, installations, videos and photographs to explore the means for effecting change in one s experience of the environment. She often covers the façades, skylights and windows with translucent materials, filters, or laser-cut panels of patterned wood or metal, creating new layers between inside and outside. Her interest lies in generating altered states of place, where invisibility and interruption short circuit perception. In imagining the opportunities architecture presents for art, Koch will build a site-specific installation, transforming the anatomy of the main gallery. Here, architecture is less the construction of an object than a strategy for occupying space. Also on view will be large-scale photographs of the interior of cardboard boxes, installed as virtual extensions of the environment. This series represents Koch s ongoing engagement with understanding how a space is converted into place. Installation view, Christopher Grimes Gallery, Santa Monica, CA, 2013

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24 Play-doh, 2015, pigment print on cotton paper, UV matte laminate, 50-1/2 x 60-1/2 x 1 inches (framed), x x 2.5 cm, edition of 6, with 2 AP

25 Air, 2015, print on silk and rayon, dimensions variable

26 sunset, 2014 aluminum and Plexiglas 91-3/8 x 120-7/8 x 12-1/2 inches 232 x 307 x 32 cm LK053

27 Portátil SP (Portable SP), 2014 aluminum and acrylic 46 x 15 x 11 inches (dimensions variable) x 38.1 x 27.9 cm travel case: 13 x 18 x 5-1/2 inches 33.2 x x cm LK045

28 Sangue, 2013 aluminum, acrylic and suitcase 46 x 15 x 11 inches (dimensions variable) x 38.1 x 27.9 cm travel case: 13 x 18 x 5-1/2 inches 33.2 x x cm LK066

29 2001, 2013 pigment print on cotton paper, UV matte laminate 59 x 57-3/8 x 1-1/8 inches 150 x 146 x 3 cm edition of 6, with 2 AP

30 Teatina 3, 2013, pigment print on cotton paper, UV matte laminate, three photographs: 36 x 36 x 1-3/4 inches, 91.5 x 91.5 x 4.5 cm each (framed), edition of 6, with 2 AP

31 Rusticchella, 2013 pigment print on cotton paper, UV matte laminate 180 x 144 inches; x cm (overall, 3-horizontal panels) 60 x 144 inches; x cm (each panel) edition of 6, with 2AP Installation view, Rusticchella, Wexner Center for the Arts, Columbus, OH, 2014

32 Cafe Extra-forte (Extra-strong coffee), 2011, pigment print on cotton paper, UV matte laminate, 120 x 188 inches, x cm, (composed of three vertical panels), edition of 6, with 1 AP

33 Installation view, Cafe Extra-forte (Extra-strong coffee), Lima, Pèru, 2011

34 Cono Norte (Comas), 2011, pigment print on cotton paper, 39-3/8 x 63 inches;, 100 x 160 cm, edition of 6, with 2 AP

35 Cono Norte (Los Olivos), 2011 pigment print on cotton paper 44 x 50 inches; 112 x 127 cm edition of 6, with 2 AP

36 Cono Norte (San Martin de Porres), 2011, pigment print on cotton paper, 39-3/8 x 54 inches; 100 x 137 cm, edition of 6, with 2 AP

37 New Development, 2011 pigment print on cotton paper, UV matte laminate 110-1/4 x 275-1/2 inches; 280 x 700 cm edition of 6, with 1 AP Installation view, New Development, Lyon Biennale, 2011

38 Bicamera, 2010 inkjet print on cotton paper 41-1/2 x 29 inches x 73.7 cm (framed) edition of 10, with 1 AP

39 Mezanino, 2010, pigment print on cotton paper, 25-3/4 x 44 inches, 65.4 x cm (framed), edition of 10, with 1 AP

40 Shinkansen, 2010 pigment print on cotton paper 41-1/2 x 29 inches x 73.7 cm (framed) edition of 10, with 1 AP

41 Still from: Night Fever, 2010, single-channel high-definition video, color, silent, 4 min. 40 sec., loop, dimensions variable, edition of 6, with 2 AP Please click here to request a viewing of the film

42 Moongate, 2009 pigment print on cotton paper 30 x 21 inches 76.2 x 53.3 cm (framed) edition of 10, with 1 AP

43 Night Fever, 2009, pigment print on cotton paper, nine photographs: 47-1/4 x 82-1/2 inches (15-3/4 x 27-1/2 inches each), 120 x 210 cm (40 x 70 cm each), edition of 6, with 2 AP

44 Açúcar Orgânico (Organic Sugar), 2006 pigment print on cotton paper, UV matte laminate 120 x 230 inches 304 x 583 cm (composed of 5 vertical panels) edition of 6, with 1AP

45 Installation view, Açúcar Orgânico (Organic Sugar), 2006, 27th São Paulo Biennial, Brazil

46 Spaghetti (2 windows), 2006 pigment print on cotton paper, UV matte laminate 118 x 55 inches x cm edition of 6, with 1 AP

47 Riso Arborio, 2006 pigment print on photographic paper 100 x 155 inches, 254 x cm (composed of 5 vertical panels) edition of 6, with 1 AP

48 Installation view, Riso Arborio, 2013, Christopher Grimes Gallery, Santa Monica, CA

49 Stills from: Olinda Celeste, 2005 single-channel high-definition video, color, silent 5 min. 26 sec., dimensions variable edition of 6 To request a viewing of this video, please click here

50 Lightbulb, 2004, pigment print on cotton paper, UV matte laminate, 40-1/2 x 48-1/2 x 1 inches (framed), x x 2.5 cm, edition of 15, with 1 AP

51 Creamcracker, 2004 pigment print on cotton paper, UV matte laminate 98-1/2 x 106-1/4 inches 250 x 270 cm (composed of 2 panels) edition of 3, with 1 AP

52 Spaghetti (Siena), 2004 pigment print on cotton paper, UV matte laminate 123-3/8 x 59-1/2 inches x cm edition of 6, with 1 AP

53 Otoman Window (cherry tomato), 2003 pigment print on cotton paper, UV matte laminate 45-1/4 x 39-3/4 inches 115 x 100 cm edition of 3, with 1 AP Otoman Window (phisalys), 2003 pigment print on cotton paper, UV matte laminate 39-3/4 inches 100 cm diameter edition of 3, with 1 AP

54 Vinho Duplo (Double Wine), 2003 pigment print on cotton paper, UV matte laminate 120 x 192 inches, x cm (composed of 4 panels) edition of 6, with 1 AP

55 CHECKLIST (To request pricing information, please click on a description): Play-doh, 2015 pigment print on cotton paper, UV matte laminate 50-1/2 x 60-1/2 x 1 inches (framed) x x 2.5 cm edition of 6, with 2 AP 2001, 2013 pigment print on cotton paper, UV matte laminate 59 x 57-3/8 x 1-1/8 inches 150 x 146 x 3 cm edition of 6, with 2 AP Air, 2015 print on silk and rayon dimensions variable LK059 Teatina 3, 2013 pigment print on cotton paper, UV matte laminate three photographs: 36 x 36 x 1-3/4 inches 91.5 x 91.5 x 4.5 cm each (framed) edition of 6, with 2 AP sunset, 2014 aluminum and Plexiglas 91-3/8 x 120-7/8 x 12-1/2 inches 232 x 307 x 32 cm LK053 Rusticchella, 2013 pigment print on cotton paper, UV matte laminate 180 x 144 inches; x cm (overall, 3-horizontal panels) 60 x 144 inches; x cm (each panel) edition of 6, with 2AP Portátil SP (Portable SP), 2014 aluminum and acrylic 46 x 15 x 11 inches (dimensions variable), x 38.1 x 27.9 cm travel case: 13 x 18 x 5-1/2 inches, 33.2 x x cm LK045 Cafe Extra-forte (Extra-strong coffee), 2011 pigment print on cotton paper, UV matte laminate 120 x 188 inches, x cm (composed of three vertical panels) edition of 6, with 1 AP Sangue, 2013 aluminum, acrylic and suitcase 46 x 15 x 11 inches (dimensions variable), 117 x 38 x 28 cm travel case: 13 x 18 x 5-1/2 inches, 33 x 45.5 x 14 cm LK066 Cono Norte (Comas), 2011 pigment print on cotton paper 39-3/8 x 63 inches;, 100 x 160 cm edition of 6, with 2 AP

56 CHECKLIST (to request pricing information, please click on a description): Cono Norte (Los Olivos), 2011 pigment print on cotton paper 44 x 50 inches, 112 x 127 cm edition of 6, with 2 AP Shinkansen, 2010 pigment print on cotton paper 41-1/2 x 29 inches x 73.7 cm (framed) edition of 10, with 1 AP Cono Norte (San Martin de Porres), 2011 pigment print on cotton paper 39-3/8 x 54 inches; 100 x 137 cm edition of 6, with 2 AP Night Fever, 2010 single-channel high-definition video, color, silent, 4 min. 40 sec., loop dimensions variable edition of 6, with 2 AP New Development, 2011 pigment print on cotton paper, UV matte laminate 10-1/4 x 275-1/2 inches; 280 x 700 cm (composed of 6 vertical panels) edition of 6, with 1 AP Night Fever, 2009 pigment print on cotton paper, UV matte laminate nine photographs: 47-1/4 x 82-1/2 inches (15-3/4 x 27-1/2 inches each), 120 x 210 cm (40 x 70 cm each) edition of 6, with 2 AP Bicamera, 2010 inkjet print on cotton paper 41-1/2 x 29 inches x 73.7 cm (framed) edition of 10, with 1 AP Moongate, 2009 pigment print on cotton paper 30 x 21 inches 76.2 x 53.3 cm (framed) edition of 10, with 1 AP Mezanino, 2010 pigment print on cotton paper 25-3/4 x 44 inches, 65.4 x cm (framed) edition of 10, with 1 AP Açúcar Orgânico (Organic Sugar), 2006 pigment print on cotton paper, UV matte laminate 120 x 230 inches 304 x 583 cm (composed of 5 vertical panels) edition of 6, with 1 AP

57 CHECKLIST (To request pricing information, please click on a description): Riso Arborio, 2006 pigment print on photographic paper 120 x 186 inches x cm (composed of 5 vertical panels) edition of 6, with 1 AP Creamcracker, 2004 pigment print on cotton paper, UV matte laminate 98-1/2 x 106-1/4 inches 250 x 270 cm (composed of 2 panels) edition of 3, with 1 AP Spaghetti (2 windows), 2006 pigment print on cotton paper, UV matte laminate 118 x 55 inches x cm edition of 6, with 1 AP Otoman Window (cherry tomato), 2003 pigment print on cotton paper, UV matte laminate 45-1/4 x 39-3/4 inches 115 x 100 cm edition of 3, with 1 AP Olinda Celeste, 2005 single-channel high-definition video, color, silent 5 min. 26 sec., dimensions variable edition of 6 Otoman Window (phisalys), 2003 pigment print on cotton paper, UV matte laminate 39-3/4 inches 100 cm diameter edition of 3, with 1 AP Lightbulb, 2004 pigment print on cotton paper, UV matte laminate 40-1/2 x 48-1/2 x 1 inches (framed) x x 2.5 cm edition of 15, with 1 AP Vinho Duplo (Double Wine), 2003 pigment print on cotton paper, UV matte laminate 120 x 192 inches; x cm (composed of 4 panels) edition of 6, with 1 AP Spaghetti (Siena), 2004 pigment print on cotton paper, UV matte laminate 123-3/8 x 59-1/2 inches x cm edition of 6, with 1 AP

58 Exit, The Doors, and Minus Green Condemned To Be Modern, Los Angeles Municipal Art Gallery Los Angeles, CA, 2017 Condemned To Be Modern explores the lives of buildings and our built environment by bringing together the works of twenty-one contemporary artists who have responded critically to the history of modernist architecture in Latin America. For her part, Koch applied gradient filters to the entrance doors and windows of the gallery and installed color correction filters in shades of pink and magenta on the lamps in Barnsdall Park, using light and color to change our experience of both spaces.

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61 Sunset Box and The Sky Looks Very Different Today The Progressive Art Collection, Mayfield, OH, 2016 Each year the Progressive CEO chooses a theme surrounding the annual report and then selects art that reflects and complements that theme. The theme for 2016 was transition: the process or a period of changing from one state or condition to another; a movement, development, or evolution from one form, stage, or style to another. Lucia Koch explores how we can change the spaces we inhabit through subtle means, whether it s through her large-scale photographs of the inside of consumer packaging that create the illusion of rooms or the site-specific installations where she transforms spaces through color and light. To represent the theme of transition, Koch created two site-specific installations in the Visitors Center of Progressive s headquarters, itself a transition space into the campus. Using color filters, she painted the space with natural light, providing a new experience of the space for all who move through it. These works are a permanent addition to Progressive s growing collection of contemporary art.

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64 La temperatura del aire Centro de Arte Contemporáneo de Caja de Burgos (CAB), Burgos, Spain, 2015 In La temperatura del aire Koch modified the way the rooms of the Contemporary Art Museum Burgos were perceived by installing six large silk curtains of different color intensities, creating a series of translucent layers of chromatic transitions that could be passed through by the viewer. Together with this installation, Koch also exhibited video works in which light is an essential element. The first, entitled Cachoeira, stems from a wonderful, lucid memory from her childhood, in which light and water dance together in a colorful fountain. The video installation consists of three simultaneous image projections showing the fountain at dawn, a detail of the steps next to it bathed in colored light, and a technician turning on the mechanism that operates the fountain. The second of the pieces, Night Fever, is a single channel high-definition video, created in It belongs to the Fundos series in which the artist distorts the scale and material characteristics of boxes and bags, utilizing the properties of photography and film to change our perception of reality.

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67 Mood Disorder Prospect.3: Notes for Now, Contemporary Arts Center, New Orleans, 2014 When Koch visited the Contemporary Arts Center New Orleans looking for materials for her installation in Prospect.3, she found a selection of clear glass and plexi sheets in storage in the basement. Extraneous materials by most standards, but exactly what Koch needed for her project. Koch painted the panels in varying color gradients using an airbrush. The pieces were then brought to the exhibition space and displayed as if they were still available for use, leaning against glass walls and windows, waiting for their final location. Because the panels were transparent and often installed overlapping one another, the colors intermingled, creating new hues and palettes and obfuscating the view of the gallery from the exterior.

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69 Mirrorama Wexner Center for the Arts, Columbus, OH, 2014 When Mirrorama was conceived Koch was inspired by the dazzle ships painted in highcontrast geometrical abstractions by the U.S. and British navies during World Wars I and II intrigued by the idea of using dazzling effects, not to make an object disappear, but rather to instill such visual confusion that one could neither identify an object s shape nor dimensions. Mirrorama was installed at the entrance, stairs, lobby, and café of the Wexner Center for the Arts in the exhibition, Cruzamentos: Contemporary Art in Brazil. Koch covered the building s existing columns with mirrored acrylic sheets, enhancing the disorienting effect of their presence and location. The risers of the stairs were also covered with mirrors. The only new element built for the work was a freestanding-mirrored column installed at the lobby that visually continued the interrupted column hanging above the stairs.

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71 Rustichella Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH, 2014 Rustichella, a photograph of the interior of a small bag of pasta, was chosen for the installation at the Wexner Center for its proportions (aligning symmetrically with the entrance wall) and for its translucent material which matched the gallery s wooden floor. Rustichella belongs to the Fundos series: photographs of the interiors of empty cardboard boxes, packages, and bags, registering the light entering the space, reflecting in its walls and lending it an ambiance. Fundos photographs are often works in situ, since each copy is printed in precise dimensions to adjust to the particular room in which they are installed. Their titles refer to the original content of each container.

72 Conversion Re:emerge. Towards a New Cultural Cartography, 11th Sharjah Biennial, United Arab Emirates, 2013 Conversion was installed at Bait Al Hurma, a small house attached to a large empty courtyard located in Sharjah s heritage district. Koch designed a roof structure for the courtyard made of steel beams, panels and frames filled with color correction filters often used for lighting film sets. Each filter created a conversion of the color temperature of light, fragmenting the space into an array of colors from a sodium vapor light to a golden sunset, from a dark, clouded shadow to a twilight-hour glow. Each panel was fixed at a different angle from the floor and ceiling, with some panels hung vertically, creating transparent obstacles to the eye and body. The gesticulation of the panels mirrored the folding and unfolding repeated during Muslim prayers in the Shia mosque located beside the house, the roof opening and articulating like a living thing. Additional filters were also installed inside a series of small niches located in the house attached to the courtyard, filling the hallway with pockets of golden, amber and lavender light.

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75 Conversation Re:emerge. Towards a New Cultural Cartography, 11th Sharjah Biennial, United Arab Emirates, 2013 Conversation was installed in a long corrior-like room on the first floor of Bait Al Serkal, a three-story heritage building connected to a veranda by a sequence of eight doors. The doors were removed and replaced with colored screens that could be seen from both inside and outside the room. Fashioned from a double layer of transparent colored Plexiglas, the patterns on the screens were inspired by elements of domestic architecture founf in the United Arab Emirates and Brazil. The screens opened the room to air and light, creating a flow between the indoor and outdoor spaces and allowing people to see and hear each other, whether within or without.

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78 Cromoteísmo Capela do Morumbi, São Paulo, Brazil, 2012 Koch transformed the Morumbi chapel into a pseudo-religious space for the praising of color, substituting the altar for a large, colored screen that bisected the chapel. The color transition filter was printed on a transluscent screen and illuminated by hidden rear projectors that effected natural light. The piece was angled in the direction of the viewer, and a concrete bench was also installed, allowing visitors to sit in the illumination of the sunset-colored light for any length of time.

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80 Un Tour Galería Lucía de la Puente, Lima, Peru, 2011 Inspired by the unique and vibrant architecture of the Cono Norte area of Lima, Un Tour forced the visitors of the Galería Lucía de la Puente to walk along a new wall full of unexpected curves and niches in order to cross the main room and exit the exhibition space into the courtyard. Produced in a double layer of undulating pegboard sheets, the wall was ever-changing according to the movement of the viewer.

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82 New Development A Terrible Beauty is Born, 11th Biennale de Lyon, France, 2011 For the 11th Biennale de Lyon, Koch was invited to create an installation on the site of an old silk factory an emblematic building not only for the historical identity of the city, but also for its future since the area was in the process of being redeveloped, thus increasing the value of the land. New Development a billboard structure with a gigantic photograph of an empty box printed on vinyl canvas was a response to these circumstances. The proportions of the white box were similar to those of the building behind it, its image displayed as if an advertisement for the future facilities that would soon be installed there. The old building was sold and destroyed during the run of the exhibition, and one could see the bulldozer gradually dismantling the ruins, passing behind the billboard, and carrying away the debris.

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84 Wave (for Choja Machi) Aichi Triennale, Nagoya, Japan, 2010 Many artists who were invited to the 1st Aichi Triennale were offered the option of occupying spaces in the commercial textile district of Choja-Machi. Wave involved a series of gradient color interventions on awnings and backlit panels around the area, but also extended to the retail estblishments of the district. Printed fabrics in cotton, silk, and satin and umbrellas were produced and distributed in some of the local stores. As these items were purchased by local shoppers, Koch s wave of color that extended throughout the entire district. In an empty store, Koch put together a showroom with all of the materials used to produce Wave, and also exhibitied a video with Yamanaka-san, owner of a local fabrics store, who presented each of the colorful fabrics, commenting on their characteristics and possible usages.

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87 El Resplandor Afuera! Arte en Espacios Public, El Panal courtyard, Córdoba, Argentina, 2010 The gradient designed for the courtyard in the El Panal building was a transition from yellow ochre at the bottom, similar to the coloring of the tiled floor, to a deep azure at the top, which matched the color of the sky that could be seen through the open roof. It was printed on cotton voile and sewn into a series of curtains that encircled the partly open space, modifying the light in the halls around the courtyard and creating a new light-filled room with movable, transparent, colored walls. The empty, half-darkened spaces in the old abandoned building where the Afuera! Arte en Espacios Publicos show took place reminded Koch of the atmosphere in Stanley Kubrick s The Shining. El Resplandor is the translation of the movie s title used in its distribution in Argentina.

88 Lightbulb (open), Lightbulb (closed) Art in 50 Shop Windows, OK Center for Contemporary Arts, Linz, Austria, 2007 In Art in 50 Shop Windows, the city center of Linz was transformed into a mile of living art. Over 30 national and international artists exhibited their work on building facades, transforming the experience of the space and inviting a dialogue between the topics of art, advertisement and consumerism.

89 Paredes para Rio Amazones Collaboration with Jarbas Lopes How to Live Together, 27th São Paulo Bienal, 2006 Koch adapted the glass walls of Oscar Niemyer s Ciccillo Matarazzo Pavilion by removing three of the wall s glass panels and replacing them with small cobogós (breeze blocks) in a honeycomb pattern. This breathing area allowed the scents and breeze of the Parque Ibirapuera to flow into the exhibition space.

90 Uma Boa Ordem Collaboration witb Héctor Zamora How to Live Together, 27th São Paulo Bienal, 2006 Koch and Zamora visited a cobogós manufacturer in order to customize their block designs with various angles and cut variations. The modified blocks, made of ceramic and painted with grey clay pigment, allowed the artists to build a prototype wall that curved and zigzagged across the space, replicating the undulating wave pattern popular in 1950s Brazilian architecture.

91 Light Corrections More than this! Negotiating realities, 3rd Göteborg Biennial, Sweden, 2005 Cinema with no film: Color-correction filters used by cinematographers are calibrated for the record on film, but when there is no film, in the naked-eye experience and with ambient light, effects are less predictable. They are not impressed on a solid substrate, but on subjects alone. Light Correction, exhibited within More than this! Negotiating Realities Göteborg Biennial, modified the light in most spaces that were part of the viewers experiences: from the circulation areas to the rooms occupied by each artist. The curatorial proposal supported such a project demanding negotiations among the artist, and between artists and curators. This project was also possible due to the existence of large skylights over the exhibition rooms. As they were originally covered in opaque material, the first significant transformation in the atmosphere was to recover the natural light entering the rooms by removing this material, and the second, to use filter to correct its color and temperature, creating specific light or each work/artist.

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94 Degradê SP Pintura Reencarnada, Paço as Artes, São Paulo, Brazil, 2004 The canvas printed with Degradê SP covered the main entrance at Paço das Artes, leaving nothing but a narrow side passage through the garden for the viewers access. The structure of the building acted as a frame for the newly installed color field. During the day, sunlight would pass through it, creating a blue-atmosphere antechamber between the canvas and the main entrance. At night, it worked as a backlit panel visible at the end of the access stairs.

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96 Turkish Delight Poetic Justice, 8th Istanbul Biennial, Turkey, 2003 In Turkish Bathhouses men and women are separated at the entrance, they take their clothes off, bathe, drink tea, and rest in their respective spaces and later reunite at the hamam s bar. Koch conceived of Turkish Delight on occasion of her invitation to participate in the 8th Instabul Biennial, Poetic Justice. Plexiglas and metal moucharabies were installed on the windows between the courtyard and the hamam s bar Koch s first experiments with laser-cut patterns on Plexiglas. In the hot-steam areas the hararets every natural light entrance was filtered. On the women s side, a light composed of blues and lavender, creating a twilight-hour atmosphere. On the men s side, variations of yellows and amber, indicative of the sun. The hamam continued to operate normally during the course of the Biennial, as it had over the past three hundred years, and in order to view any of the Turkish Delight installations, visitors had to undress and have a steam bath.

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98 Mizota, Sharon, In summer, the fresh kiss of Air, Los Angeles Times, July 25, Preciado, Selene. Lucia Koch, ArtNexus, (September) 2013; pg Lucia Koch. Oratorio, 2013 pigment print on cotton paper, laminated matte, 59-1/4 x 91-1/2 inches, x cm (framed) edition of 6, 2 AP

99 Ollman, Leah. Lucia Koch, Art in America, September 5, Brazilian artist Lucia Koch s first solo appearance in the U.S. was coyly titled (a small show with a lot of space in it). Self-consciousness and attention to size differential also prevailed in the work itself: a sculptural installation, five large color photographs and an audio piece. Koch has staged architectural interventions internationally for more than a decade. These often feature passages and enclosures in which light is altered by colored filters or ornamental screens. Her photographs here didn t manipulate the actual space as much as they conjured extensions of it. Each image presents a view into the receding interior of a geometric container; each print seemingly transforms its plot on the wall into an elastic skin stretching inward. In Arquitetura de Autor (Church of Light), 2010, we look into a boxlike chamber with two slits, one vertical and one horizontal, along its back wall, allowing light to seep through in the form of a white cross. In Walldrawing (2011), all five sides of a boxy interior are striped glossy plum and white, turning the space into a strangely seductive cell. Both pictures evoke charged architectural spaces, but nothing within them indicates scale or specific surface material. Koch pushes that illusionistic ambiguity further through the size and placement of two other photographs. Riso Arborio (2006) measures roughly 10 by 20 feet and positions us at the open end of a cardboard box on its side. A cellophane window on the box doubles as a skylight, bringing sunshine inside and a view to greenery above. Because of the immersive scale of the print, the image fills our field of vision and suggests an unlikely continuation of the gallery space into a warm brown niche, a shelter that effectively miniaturizes us by magnifying the familiar, modest container. Oratorio (2013), a trapezoidal print of the receding interior of a rough concrete enclosure, was set in a corner of a small side gallery. The chamber's corners matched up with the seams between the wall and the floor so that the real and represented spaces converged, the photographed focal point serving as a slightly vertiginous, distended corner. Koch's photographs make engaging fictions of simple physical facts. They have a subtle sense of humor and reinvoke wonder at the deceptions we accept as part of the basic perceptual processing of visual, especially photographic information. The constructed photographs of James Casebere and Thomas Demand come to mind as cousins to Koch's gentle illusions, which also riff, in a domesticated idiom, on Minimalist cubes. Lucia Koch: Arquitetura de Autor (Church of Light), 2010, inkjet print on cotton paper, 29¾ by 26¼ inches; at Christopher Grimes. Koch's sculptural installation, a sinuous, 20-foot-long wall faced in white pegboard, offered less fuel for the imagination. Seen from a certain distance, its perforated surface induced a dizzying, moiré-like effect, indeterminate and unstable. But otherwise, The Wrong Wall (2013) posed only a simple opposition between fluid line and rigid material, bisecting the main gallery space but not animating it. The audio piece helped in that regard. Its seven-minute loop of traversing skateboarders sent arcs of audible motion through the gallery another illusion, another sensory extension of the space.

100 FEATURE - 05 MAY 2007 Lúcia Koch by Jochen Volz 2005 Göteborg International Biennial Light, eye-popping patterns and a Turkish bathhouse For the 2005 Göteborg International Biennial for contemporary art the Brazilian artist Lúcia Koch created a body of works collectively entitled Light Corrections (2005). By applying to all the windows and skylights of the venue, the Göteborgs Konsthall, the type of corrective filters normally used for cinema, she created a suite of subtly altered natural light sources of varying intensity and tonality. These optical adjustments had an effect on the way the viewer experienced not only the more utilitarian areas of the Konsthall (such as the entrance hall, corridors and café) but also the gallery spaces themselves, where the works of the other artists in the biennial were on show. Having carefully negotiated with her co-exhibitors and with the Konsthall, Koch set out to produce the ideal light conditions for each work. For Adrian Paci s Cappella Pasolini (Pasolini Chapel, 2005), for example, she used a golden-yellowish Rosco filter to illuminate a work that paid homage to the quality of light that characterizes the films of Pier Paolo Pasolini. For Miriam Bäckström s film projection of Rebecka (2004), on the other hand, she chose a neutral-density filter of just 12 percent transparency to reduce the luminosity and intensity of the projection without changing its hue. And whereas a large window high above the Konsthall s central hall appeared to be filled with late-afternoon sunlight all day long, the large floorto-ceiling windows in the Falkhallen Gallery acted as a screen for several bands of superimposed filters, creating the illusion of multiple views of the world outside, perceived at different hours of the day and under a variety of atmospheric conditions. This light collage highlighted aspects of which visitors are normally only faintly aware when strolling through an exhibition: the way light brings architecture to life, the relationship between light and time, and the perception of colour all key components of Koch s experiments with architectural space. Light Corrections also focused attention on another important element in Koch s work: the concept of negotiation, the process of reacting directly to a particular spatial situation. Tailoring a piece of architecture to the specific needs and desires of its users requires sensitivity and an insight into the way a given building is used. Many of Koch s works have taken this process as their point of departure, however, as in her ongoing project to modify homes in Jardim Miriam, a suburb of São Paulo, or in her project at Istanbul s Cagaloglu Hamam, undertaken for the Eighth Istanbul Biennial. Turkish Delight (2003) comprised a series of subtle and sensitive modifications to the famous choreography of natural light entering the interior of the bathhouse. Without interfering with the functionality of the baths themselves, Koch changed the tonalities of light throughout the building, including in the segregated female and male bathing areas. Again the project involved numerous sessions of delicate negotiation in advance with the hamam s owners and staff. Whether intervening in private dwellings or in public spaces, however, this focus on the dialogue of accommodation and compromise between artist and occupant seems to suggest an optimistic belief in the possibility of changing one s spatial reality via the most inconspicuous of means, the ability to personalize the perception of space simply by changing its main catalyst: light. For the 27th São Paulo Biennial, Koch created the large spatial sculpture Exhibition Room (2006). After taking the exact dimensions of the walls surrounding the exhibition space allotted to her, she built a cube of ordinary perforated pressboard panels, painted white. With their regular grid of tiny holes, the square panels were fixed to each side of a hollow support structure, creating a visible surface that comprised countless apertures, through which the radiant natural light of the pavilion s expansive windows filtered. The holes of the first plane aligned with those of the second to create an enormous variety of radiant intersections and eye-popping optical patterns, according to the position of the viewer. Seen from a certain distance, large numbers of overlapping holes seemed to combine to form larger, illuminated circles. As the viewer walked about the space, however, one circle would appear to fade away, only to be replaced by new ones, depending on the angle. Although simple to achieve in practical terms, the resulting hallucinatory effect was visually complex but also fun, like a walk-in Bridget Riley. The walls seemed to respond to the visitor, as if the surrounding surfaces were a chimera, a figment of the eye and the imagination. The subjectivity of perception, exemplified by the presentation of a simple yet captivating optical phenomenon, offers another interesting reading of Koch s work. Returning again to Light Corrections, it is worth recalling Maurice Merleau-Ponty s Phenomenology of Perception (1945), in which the philosopher stresses that colour is a fundamental constant and introduces the concept of memory colour. Merleau-Ponty exemplifies this objectivist idea of perception by stating that a brown table remains a brown table under any light conditions and at any distance. Koch s works argue the opposite. On a more abstract level of interpretation, her Light Corrections refers to much more than its own museological conditions. Her scheme for modifying natural light brings the individual viewer back to the centre of phenomenological experience: to the perception of light, of time, and of the self in space.

101 LUCIA KOCH Born 1966 in Porto Alegre, Brazil Lives and works in São Paulo, Brazil Solo Exhibitions 2017 No more things., Christopher Grimes Gallery, Santa Monica, CA 2015 La temperatura del aire, Centro de Arte Contemporáneo de Caja de Burgos (CAB), Burgos, Spain let there be a set X, Christopher Grimes Gallery, Santa Monica, California 2014 Duplas, Galeria Nara Roesler, São Paulo, Brazil Mañana, montaña, ciudad, Flora ars + natura, Bogotá, Colombia 2013 Lucia Koch (a small show with a lot of space in it), Christopher Grimes Gallery, Santa Monica, CA 2012 Materiais de Construção, Galeria Nara Roesler, São Paulo, Brazil Chromothesim, Capela do Morumbi, São Paulo, Brazil Externa / dia / praia, installation at urban beaches, Natal, Brazil 2011 Seco, sujo e pesado, Galeria Nara Roesler, São Paulo, Brazil Un Tour, Galeria Lucia de la Puente, Lima, Peru 2009 Conjunto Nacional - Casa de Espelhos, Galeria Vitrine Paulista, São Paulo, Brazil Purple Rain, Fazenda Serrinha, Bragança Paulista, Brazil 2008 Casa Acesa, La Casa Encendida, Madrid, Spain 2007 Correções de Luz, Centro Universitario Mariantonia, São Paulo, Brazil Two Todays, Starkwhite Gallery, Auckland, New Zealand Stand, SPARTE, São Paulo, Brazil 2006 Matemática Espontânea, Torre Malakoff, Recife, Brazil 2005 Matemática Moderna, Galeria Casa Triângulo, São Paulo, Brazil 2002 Parede RGB, MAM/SP, São Paulo, Brazil 2001 Fundos, Centro Cultural São Paulo, São Paulo, Brazil Remistura O.A., Galeria Obra Aberta, Porto Alegre, Brazil 1990 Lucia Koch, Centro Cultural São Paulo, São Paulo, Brazil 1988 Esculturas Espaço Alternativo, Funarte, Rio de Janeiro, Brazil Group Exhibitions 2017 Condemned to Be Modern, Los Angeles Municipal Art Gallery, Los Angeles, CA Past/Future/Present: Contemporary Brazilian Art from the Museum of Modern Art, São Paulo, Phoenix Art Museum, Phoenix, Arizona Hercule Florence: Le Nouveau Robinson, Monaco National Musée Nouveau, Monaco 2016 Transparência e Reflexo, Museu Brasileiro da Escultura, São Paulo, Brazil Impermanence: The mutation of art in a materialistic society, 13th Cuenca Biennial, curated by Dan Cameron, Cuenca, Ecuador Jameel Prize 4, organized by the Victoria & Albert Museum in partnership with Art Jameel, Pera Museum, Istanbul, Turkey 2015 Veduta Program, Lyon Biennial, France The Violent No!..., Istanbul Biennial Public Program with the support of Fiorucci Art Trust, Kastelorizo, Greece Kaleidoscope: abstraction in architecture, Christopher Grimes Gallery, Santa Monica, CA Trienal Poli/Gráfica de San Juan, América Latina y el Caribe, San Juan, Costa Rica 2014 Prospect.3: Notes for Now, Contemporary Arts Center of New Orleans, LA A Sense of Place, Pier 24 Photography, San Francisco, CA A invenção da praia, Paço das Artes, São Paulo, Brazil Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH 2013 A Sense of Place, Pier 24 Photography, San Francisco, CA Lugares Extraños / Strange Places, Museuo de Arte Contemporaneo, Lima, Peru Re-emerge: Towards a New Cultural Cartography, Sharjah Biennial 11, Sharjah, United Arab Emirates 2012 Elogio da Vertigen: Coleção Itaú de Fotografia Contemporânea Brasileira, Paço Imperial, Rio de Janeiro, Brazil

102 2011 Zona Maco Sur, Centro BANAMEX, Mexico D.F. Projeto Travessias, Favela da Maré, Rio de Janeiro, Brazil A Terrible Beauty is Born - 11 Biennale de Lyon, Lyon, France Além-fronteira, 8 Bienal do Mercosul, Porto Alegre, Brazil Um outro lugar, MAM/SP, São Paulo, Brazil 2010 Afuera! Muestra Internacional De Arte Contemporaneo, Cordoba, Argentina Sempre A Vista Miragem, Galeria Mendes-Wood, São Paulo, Brazil 20 Anos do Programa De Exposições, Centro Cultural São Paulo, São Paulo, Brazil Arts and Cities - Aichi Triennale, Choja-Machi, Nagoya, Japan Nature of Things - Biennial of the Americas, Denver, CO 2009 When Lives Become Form, Yerba Buena Center For Arts, San Francisco, CA 2008 Lugares Desdobrados, Fundação Ibere Camargo, Porto Alegre, Brazil Sincretismo Dos Sentidos - Faq., SESC Ipiranga, São Paulo, Brazil De Rasgos Arabes, Cinemateca Brasileira, São Paulo, Brazil Casa Sem Dono, Galeria Casa Triangulo, São Paulo, Brazil When Lives Become Form, MOT - Contemporary Art Museum, Tokyo, Japan Quando Vidas Se Tornam Forma, Museu de Arte Moderna São Paulo, São Paulo, Brazil Quase Liquido, Itaú cultural, São Paulo, Brazil 2007 Contraditório - Panorama da Arte Brasileira, Museu de Arte Moderna São Paulo, São Paulo, Brazil Curacción Geometrica, The Reliance, London, UK Schaurausch, Ok-Centrum, Linz, Austria 2006 Interventions, Haus Der Kulturen Der Welt, Berlin, Germany Como Viver Junto 27 Bienal De São Paulo, São Paulo, Brazil Dual Realities, Media City Seoul, Seoul Art Museum, South Korea MAM na OCA, São Paulo, Brazil 2005 More Than This! III Gothenburg Biennial, Sweden V Bienal Do Mercosul, Porto Alegre, Brazil JAMAC, Jardim Miriam Arte Clube, Galeria Vermelho, São Paulo, Brazil 2004 Entre Pindorama, Künstlerhaus Stuttgart, Stuttgart, Germany Ipermercati Dell arte, Palazzo Delle Papese, Siena, Italy Life Goes Mobile, Sonar Instituto Tomie Ohtake, São Paulo, Brazil 2003 Futuribles - Up&Coming, Arco / Feira de Arte Contemporânea, Madrid, Spain Poetic Justice - 8th Bienal De Istanbul, Istanbul, Turkey Subversão dos Meios, Itaú Cultural, São Paulo, Brazil 2002 Panorama da Arte Brasileira, MAM/RJ, Rio de Janeiro; MAM/Bahia, Salvador, Brazil Shift, CCS Bard College, Annandale-On-Hudson, New York, NY 2001 Panorama da Arte Brasileira, Museu de Arte Moderna São Paulo, São Paulo, Brazil Squatters - Ocupações, Porto 2001, Portugal Obscura Luz - Trajetória da Luz Na Arte Brasileira, Itaú Cultural, São Paulo, Brazil 2000 Espacio Como Projecto / Como Realidad - Bienal De Pontevedra, Spain Masterbox, Printed Matter Inc., New York, NY 1999 Território Expandido, SESC-Pompéia, São Paulo, Brazil II Bienal do Mercosul, Porto Alegre, Brazil 1997 Ao Cubo, Paço das Artes, São Paulo, Brazil Correntes Alternadas Wechsel Storm, ICBRA, Berlin, Germany Luz, United Artist III, Casa das Rosas, São Paulo, Brazil 1996 Arte Construtora na Ilha da Pólvora, Porto Alegre, Brazil 1995 Corte do Olhar, Museu de Arte Moderna São Paulo; MAM Rio, Rio de Janeiro, Brazil Espelhos e Sombras, CCBB/Rio de Janeiro; MAM/SP, Brazil Luz na Arte/Arte na Luz, Goeth Institut, Salvador, Brazil 1994 Arte Construtora no Parque Modernista, São Paulo, Brazil Arte Construtora no Solar Grandjean De Montigny, Rio de Janeiro, Brazil 1992 Câmaras Solar dos Câmara, Porto Alegre, Brazil 1991 Sentido Noturno, Forumbhzvideo, Belo Horizonte E Torre do Dmae, Porto Alegre, Brazil Salão Nacional de Artes Plásticas, Funarte, Rio de Janeiro, Brazil 1987 Projeto Macunaima, Funarte, Rio de Janeiro, Brazil

103 Collections Fundacíon ARCO, Madrid, Spain Los Angeles County Museum of Art, Los Angeles, CA Musée d Art Contemporain de Lyon, Lyon, France Museu de Arte Contemporânea do Paraná, Curitiba, Brazil Museu de Arte Moderna Aloísio Magalhães, Recife, Brazil Museu de Arte Contemporânea do Rio Grande do Sul, Porto Alegre, Brazil Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil Museu de Arte Moderna de São Paulo, São Paulo, Brazil Pinacoteca do Estado de São Paulo, Brazil Progressive Art Collection, Mayfield, OH University of Warwick Art Collection, Warwick, UK Public Commissions 2017 The Sunset Box and The Sky Looks Very Different Today Progressive Art Collection, Mayfield, OH Site-specific window gradients commissioned for the Progressive Art Collection Visitor Services Center 2015 Edificío Bruxelas, São Paulo, Brazil Laminated sliding glass panels, commission for the Bruxelas building 2009 Colour Corrections University of Warwick Art Collection, Warwick, UK Site-specific color-correction intervention at the University of Warwick Digital Laboratory 2006 Matemática Espontânea SESC-Belenzinho, São Paulo, Brazil Laser-cut mirrored acrylic, permanent installation at the SESC-Belenzhino community center Selected Bibliography 2017 Censorship in Brazil: five responses, Frieze Magazine, November 20, Mizota, Sharon. In Summer, the fresh kiss of Air, Los Angeles Times, July 25, Preciado, Selene. Lucia Koch, ArtNexus, September 2013; pg Ollman, Leah. Lucia Koch, Art in America, September 5, Shaw, Michael. Lucia Koch, ArtScene, June Lucia Koch. Rio de Janeiro: Aeroplano, Interview with Javier Hontoria. Intervenciones Madrid: La Casa Encendida. Volz, Jochen. Light, eye-popping patterns and a turkish bathhouse, Frieze 107 (May): Barro, David. La realidad topológica de Lucia Koch, in Parangolé: Fragmentos desde los 90 en Brasil, Portugal y España. Museu Patio Herreriano, Valladolid 1 (June): Rezende, Marcelo. Você não vê, mas está lá, Bravo! 130 (June): 99. Duarte, Paulo Sergio. Arte brasileira contemporânea: um prelúdio. Rio de Janeiro: Silvia Roesler Edições de Arte, 2008: Hasegawa, Yuko. Quando vidas tornam-se forma. São Paulo: Museu de Arte Moderna de São Paulo. Ramiro, Mario. Mario Ramiro on Lucia Koch, BOMB 102 (March): 30-31, Artists on Artists. Osório, Luiz Camillo. Años 80 y 90, Exit Express Arte en Brasil Arco 2008 (February): Zielinsky, Monica. Lugares de impermanência, in Lugares desdobrados. Porto Alegre: Fundação Iberê Camargo Dos Anjos, Moacir. Contraditorio. Panorama da Arte Brasileira. São Paulo: Museu de Arte Moderna de São Paulo. Farias, Agnaldo and Moacir Dos Anjos. Geração da virada 10+1, Os anos recentes da arte brasileira. São Paulo: [s.n.], 2007: Barro, David. Acuarela inexistento. Tempos de luz, Dardo Magazine 3 (January): 76-77, 88-89, 99. Interview with Fulya Erdemci in Guia da 27th Bienal de São Paulo. São Paulo: 27th Bienal de São Paulo, 2006: 144. Oliva, Fernando. Mensagem para o futuro, Bravo! 110 (October): Arrhenius, Sara. More than this! Negotiating realities. Göteborg: 3a Göteborg International Biennial for Contemporary Art, (catalog) Dos Anjos, Moacir. Lucia Koch, in Premio CNI SESI Marcantonio Villaça para as Artes Plásticas. Brasílla: [s.n.], 2005: Fidelis, Guadêncio. Lucia Koch, in Da escultura à instalação. Porto Alegre: 5th Bienal do Mercosul, 2005: Hafe-Pérez, Miguel von. Action und widerstand in der globalne Ära, Springerin (Wien): Monachesi, Juliana. As ficções matemáticas de Lucia Koch. Accessed: < Sinclair, Ruby. The attempt to free color from its boundaries, in Entre Pindorama. Künstlerhaus Stuttgart Chaimovich, Felipe. Cordisburgo, in Poetic Justice. Istanbul: 8th Bienal de Istanbul, 2003: 132. Albuquerque, Fernanda. Deleite turco, Aplauso 51, 2003: Léon, Dermis Pérez. VIII Istanbul Biennial, ArtNexus 51, v. 2 (December) 2003: Ribeiro, Niura. A traição das imagens: fundos de caixas em espaços arquitetônicos, Porto Arte 22 (May) 2003: Hamburger, Alex. Linguagens modificadas, Item 6 6 (March) 2003: 34.