Mexican artist and architectural researcher based in Chicago, USA and Pachuca, Mexico.
His work uses architectural history, writing and video to address representations of indigeneity, the production of extreme environments and contemporary political struggles in the Americas. He has been a fellow of the Society of Architectural Historians and a grantee of the New Artists Society of the School of the Art Institute of Chicago, the Jumex Foundation for Contemporary Art and Andrew W. Mellon Foundation. 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 Centro de Arte y Filosofia.
He is currently the curator of The Last of Animal Builders, an exhibition at the Edith Farnsworth House, opening March 31, 2023. He manages the Katz Center for Mexican Studies at The University of Chicago.
Work by Alberto Ortega at Rhona Hoffman Gallery in Chicago.
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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.
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.
