Rosina Cazali
Some of these include Móvil, an exhibition and performance by Guatemalan artist Regina José Galindo at the Museo de Arte Contemporáneo (MUAC) and UNAM’s independence bi-centenary celebration project: The Ghost of Liberty, México 2010.
With Laura Terré, she co-curated the exhibition Peso y Levedad, Photography in Contemporary Latin America, for the Instituto Cervantes de Madrid, within the activities of PHOTO España, 2011.
She has participated in theoretical events such as: Temas Centrales, organized by Teorética in San José, Costa Rica in 2000 and 2012; Curatorial Practice and Criticism in Latin America, by Bard College’s Center for Curatorial Studies, New York, March 2011; IV Diálogos Iberoamericanos/POST Issues, Valencia, Spain 2001; No title, International Symposium on Latin American Art in Global Context, the University of Austin, Texas, March 2006; ARCO’s debate forums, Madrid, Spain 2006; Contemporary Art in Guatemala.
A Comparative Lecture, New Mexico University, Alburquerque, September 2008; Contemporary Art in Guatemala, 3 type events at the seminar Tras Signos en Rotación, organized by the project Ojo Atómica and Anti-Museo, Spanish Cultural Center in México, 2009;La vida nuda, preliminary encounter at Kasell Documenta in México City and Cairo; Between the museum and practice: Reconsidering Latin American Art in the XXI Century, Museum of Latin American Art, MOLAA, Long Beach, California, in collaboration with the Getty Research Institute, Lima, Perú 2011; Foro Latinoamericano de Fotografía de São Paulo, Brasil, 2013; Daegu Photography Biennial and Symposium, Seul, Korea.
In 2011 she was invited to teach a workshop entitled Inmonumental, a review, and deconstruction of the symbols and discourses of the monuments as part of the contemporary art project Demolition/Construction, in Córdoba, Argentina.
Between December 2008 and March 2010, the Migraciones: Mirando al Sur exhibit traveled through Guatemala, Honduras, El Salvador, Nicaragua, Mexico, United States of America, and Costa Rica—showing at the Spanish Cultural Centers of each country.
[6][7] In 2014, she coordinated El día que nos hicimos contemporáneos, a theoretical symposium with emphasis in Central American thought and discussions centered in a reflection about contemporary art in the isthmus and its development.
