Juan Ledezma

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Quick Facts
Columbia University, 2008, Ph.D.
critical theory mixed-media installation collective modern, concrete art, avant-garde, russian constructivism video-art performance, publication, research, cultural-center painting, photography, conceptual, sculpture


The formation of modern and contemporary visual cultures, both European and American, especially in terms of the relation between current modes of representation and the pre-war avant-gardes. Suprematist and constructivist art in post-revolutionary Russia (1918-1932) and their formative influence on Latin American modernism (1930s-1970s). The intersections between abstraction and technological modes of reproduction, with emphasis on photography and the design of objects.


Developed a more comprehensive version of the exhibition “The Sites of Latin American Abstraction" (Miami, 2006), so as to establish a firmer link between Latin American Concrete art and modernist urban photography (1930-70). Recognized by the Los Angeles Times critic Christopher Knight as one of the ten best exhibitions of 2009, the show has been hosted by the Museum of Latin American Art, Long Beach (November 2009–January 2010) and the Museu d’Art Modern i Contemporani “Es Baluard”, Palma de Mallorca (March–June 2010).  “Sites” is scheduled to travel to the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (September 2010) and Haus Konstruktiv, Zurich (February 2011).


Els Llocs de l’Abstracció de l’Amèrica Llatina (The Sites of Latin American Abstraction, third and revised edition; Palma de Mallorca, Spain: Museu Es Baluard, 2010).

“Techniques of Revolution. Gustavs Klucis’s Objects in the Context of the October Group,” in Iveta Derkusova, ed., Gustavs Klucis. On the Constructivist Art Front. Works from the Latvian National Museum of Art and Other Collections (Seville, Spain: Cajasol Obra Social, 2009).

“Shifting Abstraction’s Paradigms: Carmen Herrera in the (Latin) American context,” in Nigel Prince, Jonathan Watkins et al., Carmen Herrera (Birmingham, UK: Ikon Gallery, 2009).

“Neither Legible nor Abstract,” in Elizabeth Fisher, Dave Hickey and Juan Ledezma, Arturo Herrera, (Birmingham, UK: Ikon Gallery, 2007): 61-70.

“In Search for the Origin That Will Have Been Lost: On the Biographical Mark in the Work of Ana Mendieta,” in Beverly Adams, Juan Ledezma, Mari Carmen Ramírez et al., Constructing a Poetic Universe. The Diane and Bruce Halle Collection of Latin American Art, org. Beverly Adams (The Museum of Fine Arts, Houston: Houston, 2007): 130-145.

“Assembling Collective Reason. Gego's Structures as Public Space,” Gego, 1957-1988: Thinking the Line, ed. Nadja Rotner (Hatje Cantz: Ostfildern-Ruit, 2006): 39-57.