ALBERTO ORTEGA-TREJO

Mexican artist and architectural designer based in Chicago, USA and Pachuca, Mexico.

His work uses architectural design, writing and video to address representations of power and marginality in the Mexican State and in the Americas. He has been a grantee of the New Artists Society of the School of the Art Institute of Chicago, the Jumex Foundation for Contemporary Art and the John W. Kurtich Foundation. For his work on the history of Mexico City’s Modern Sewage System and its relationship with indigenous representation he was awarded an Andrew W. Mellon Foundation grant by the Anti-Racism and Global Architecture History program, an initiative of the Global Architecture History Teaching Collaborative of the Department of Architecture at MIT. His work has been shown in venues as Fundación Andreani for BienalSur, Ca’ Foscari Zattere for the 16th Venice Architecture Biennale, Harun Farocki Institut, Chicago Design Museum, Extase, SITE Galleries, SpaceP11 and the Centro de Arte y Filosofia. He is currently a Creative in Residence at the Farnsworth House and manages the Katz Center for Mexican Studies at The University of Chicago.

CURRENT EXHIBITIONS:
Las Aguas Bajan Turbias with Andrea Hunt, curated by Benedetta Casini and Leandro Martinez Depietri for BienalSur
Fundación Andreani, Buenos Aires, Argentina. Open Sept to Dec, 2021


ARTIFICIAL-AGENCY 


Architecture
Design Consultancy
Research and Publication
Exhibition Strategy

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Post National Pavilions

W/ Maite Borjabad and Agustin Schang
Exhibition Strategy
This proposal was formally submitted to and rejected by the selection committees of Mexico, Spain and Argentina for the 17th Venice Architecture Biennale: How will we live together?

This proposal articulates the possibility of three countries hosting the same exhibition and case studies at the same time during the Venice Biennale. It proposed to revise and commision new work to multidisciplinary teams addressing the colonial legacy of Spain in Latinamerica and vice-versa through a series of specific cases of monuments, maps and public spaces in both continents that speak of the constant tension between both perspectives of the colonial encounter.

The pavilions would share a common imaginary ground in the form of the Magallanes-El Cano route map drawn and divided on the floor of the three countries. While props and scenery would create the objectual components of a mobile theater of spatial operations.