Mauricio Arango was born in Bogotá, Colombia and lives and works in New York. He is an alumnus of the Independent Study Program at the Whitney Museum and has participated in residences at the International Academy of Fine Arts in Salzburg, Austria; the MacDowell Artist Colony, US; and Museo El Barrio, New York. His films and works have been shown in multiple film and contemporary art festivals including most recently New Directors/New Films at the Lincoln Film Society and The Museum of Modern Art, New York; Kino Der Kunst, Münich; VideoBrasil, Sao Paulo; and Rencontres Internationales, Paris.
He has received awards in the form of financial support from RivieraLab Coproduction fund, Mexico; The Foundation For Contemporary Art, New York; Secretary of Culture, Bogotá; Filmmakers Fund, Rooftop Films, New York; Matt Robert Arts, London; Bush Foundation For the Arts, Saint Paul, US; and the Minnesota State Arts Board, among others. He was a guest participant at the 2013 New York Film Festival’s Artist Academy and is currently working on his first feature length experimental film, Untitled Death Row Chronicle, in company of New York artist James Kienitz Wilkins, to be released in 2016.
On-site Live in Las Galerías from September 3 to Oct. 11, 2014
“The tumultuous social history of my home country, Colombia, has led me to consider how deeply traumatic events can permeate the conditions of everyday life. Through my work, and particularly by means of allegorical and narrative devices, I explore the way violence alters our senses of place and time—two defining aspects of subjectivity.
Confrontations between light and darkness, duration and impermanence, and between humans, animals and their environments play out in my work.
My films, which are no longer than 20 minutes, normally take many months to complete, as they are shot in remote regions of Colombia with local actors and crew. In addition, I undertake all aspects of postproduction alone, because editing is a crucial part of my creative process. Photography and installation act as complements to my film practice; they share its economy of means and continue its search for balance between restraint and directness.”