Carolina Caycedo

The foundation of Carolina Caycedo’s practice is urban intervention—she seeks to experience and expose issues and contexts people encounter on any given day. Although she has produced artists’ books, audio CDs, and objects, her work is predominantly performance that runs parallel to Relational Aesthetics. Her public works address “commodification, exploitation, and discrimination”—she maintained a “Street Museum” that traded art while making it publicly available to marginal areas in Bogotá, Colombia, and lived on the street in Vienna and New York, surviving on a barter system with strangers. Her utopian models challenge boundaries and are influenced by her nomadic upbringing. Caycedo unveils complicated exchanges between social extremes in modern times—producers and consumers, art and society, professionals and amateurs, the disadvantaged and well-endowed—and considers the ways in which their classifications might alter their economies.

Caycedo has exhibited at a number of institutions including ARCO, Madrid, SFMOMA, San Francisco, Kunstmuseene, Bergen, Norway, Palais de Tokyo, Paris, Apexart, New York, Serralves Museum, Porto, Portugal, Wattis Institute for Contemporary Art, San Francisco, Queens Museum, New York, Artists Space, New York, Cartier Foundation for Contemporary Art, Paris, and the Contemporary Art Centre, Seville, Spain, among many others. She participated in the 9th Shanghai Biennale in 2012, ArtBo in 2011, the Pontevedra Biennial in 2010, the Havana Biennial in 2009, the Whitney Biennial in 2006, and the Venice Biennale in 2003 and 2001, among others. Institutions including El Ranchito in Madrid (2010), DAAD, Berlin, Department of Cultural Affairs, Los Angeles, and Contemporary Artists Center, North Adams, Massachusetts, among others, have awarded her residencies. She is part of the Artists’ Pension Trust.