Felipe Castelblanco is a multidisciplinary artist and researcher who works at the intersection of participatory practices, the moving image, and new media art. In his practice, he explores institutional formats and creates platforms for inter-epistemic dialogue. Recent exhibitions include the 2019 Quebec Biennial, Seasons of Media at ZKM – Zentrum für Kunst und Medien in Karlsruhe, and the project Water Territories at Helmhaus in Zurich. Felipe Castelblanco completed a practice-based PhD with the Make/Sense Program at FHNW Academy of Art and Design in Basel in cooperation with Kunstuniversität Linz, investigating avenues for biocultural peace-building through participatory art and media in the Colombian Andean-Amazon region.

(Auswahl)

• 2021 – History’s Footnotes, Marres Art Center. Maastricht
• 2021 – WOHIN, “Water Territories”. Helmhaus, Zurich
• 2020 – Cartographies of the Unseen, Ausstellungsraum Klingental, Basel,
• 2019 – Driftless, Quebec Biennial
• 2015 – We Out Here, Royal Academy Schools. London
• 2015 – The People’s Island. Negros Museum, Bacolod
• 2013 – The Foreigner (collaboration with Jon Rubin), The San Diego Museum of Art

Plants_Intelligence. Learning like a Plant

Essay and Book Contributions

• We Feel the Jungle Like We Feel Our Own Skin. A conversation with Taita Hernando Chindoy, in: Kateryna Botanova, Quinn Latimer (eds.), Amazonia: Anthology as Cosmology
• Teaching Through Fire, co-written with Kathrin Siegrist for The Para-Site School A 10 year Review, 2021

Online

• A Mirage Mirror. co-written with Nishant Shah for The Anthropocene Curriculum, HKW, Berlin

Cartographies of the Unseen:

This research project investigates planetary entanglements enabling shifts in spatial-cognition, other notions of land-use, representation, proximity and ways of being together, with the human and nonhuman, in global space. These issues are explored through a complex eco-social landscape like the Colombian Pan-Amazon region (Nariño, Putumayo and Cauca), currently  the epicentre of ecological violence and land-use disputes, as well as new modes of governance and world-picturing put forward by indigenous communities through a process of epistemological re-calibration, philosophies of Sumak Kawsay (Buen Vivir  – Good living), and situated forms of aesthetic thinking and public assembly.