Sara

Glaxia

Sara Glaxia (b. 1982, Mexico)

in 1998-99 Worked as art assistant of artist Yoshua Okon, on year 2000 enrolled in the Academy of Fine Arts in Vienna and worked in with art group Gelatin for several art shows, later on was pupil and art assistant of artist Raymond Pettibon from 2003 to 2010.

Working with various media and forms, her drawings, performances, installations and texts draw an exploration on the ordinariness of everyday life and its ritualised dimensions, the notions of radical subjectivity and the personal and public spheres of life. Her works are reminiscent of the fact of the social context of any artistic work and, on the other hand, document her glamorous outbreaks from it as well as her performative series of experiments of the continuous dismantling of social and economic barriers.

Solo exhibitions include
Metamorphosis, Video Screening for a song by Christopher Chaplin, Büro Weltausstellung, Wien (2021). OASIS, Büro Weltausstellung, Vienna (2020), Milk’s Turn, Palazzo Lantieri, Gorizia (2014). BLACK BEAUTY Kunstbüro (2012). NAKED COUTURE- Coco Gallery, Vienna (2009), Sara Glaxia. Zeichnungen 2001-2006, Plattform – Raum für Kunst, Vienna, (2006). Oh Yeah. Gelitin Studio, Vienna, (2000)

Group exhibitions include
Parallel Wien Artfair (2020), Double Absence, pf Gallery of Photography, Zamek, Poznan (2015), Island Iceland Offshore Project, Skatfell, Seydisfjödur (2015), MAD#1 – Royal Book Lodge– at La Maison Rouge, Paris, (2015), Vienna for Art’s Sake – Winterpalais der Prinzen Eugen, Vienna, (2015), Oben & Unten; 3Haus Projekte, Vienna (2014), Franz Graf. Siehe was dich sieht. Belvedere 21, Vienna, (2014), Call to Jupiter (performance) Salotto Vienna, Pecceria, Trieste (2014), LUCAS_BOSCH_GELATIN, opening performance, Kunsthalle Krems (2011), Icelan hits Danube “Schwarz Heute Jetzt Haber Dass Schon Fast Vergessen” Kunsthalle Krems, Austria (2010), Fractional Systems. Garage Project ll, Schindler Haus, MAK Center, LA (2010), ARTRAT, PerformIC, Innsbruck (2008), “La Louvre” Musée d’Art Moderne de la Ville de Paris, FR (2007), Tension; sex; dispair – aber hallo/na und?, Kunsthalle Exnergasse WUK Vienna, (2007), ZWEITER BERLINER KUNSTSALON, Man Museum, Berlin (2004), L’image de la jeunesse, un jour de fe^te, Gallery Nomadenoase, Paris (2004), “Gelatin’s Armpit” Liverpool Biennial, UK (2002), Rayos y Centellas, La Panadería, Mexico City (1998)

Curatorial Projects,

Finissage event for the show by Franz Graf. Siehe was dich sieht. Belvedere 21, Vienna, (2014)

Collections,

Lucciano Benetton Collect

Royal Book Lodge

Item Editions

Bibliography

Sara Glaxia – Serpentine Illusions
The book contains 60 drawings and texts from Sara Glaxia realised in Paris between 2012 and 2015. The 28 copies were bound in the workshops of Annick Bienvenu in Paris, France.4 unique box sets contain embroidery by Frederick Petit from the artist’s drawings.

format: 1 x 2 cm
ROYAL BOOK LODGE

TECHNICS OF RELEASE
©Galeria Fotografi pf, 2015
Book Published by ZAMEK Culture Center, Poznan, Poland
Edited by Karolina Majewska-Güde, Dominika Karalus and Dorota Walentinowicz. pp. 130, 131, 303

Franz Graf. Schwarz heute jetzt habe dass schon fast vergessen Category 2: Kunstbände und Fotobücher
Publisher: Hans-Peter Wipplinger (Kunsthalle Krems)
Editorial: Kunsthalle Krems / Verlag für moderne Kunst Nürnberg (D) pp. 62, 72, 261

IMAGO MUNDI ART, Lucciano Benetton Collection, Vienna for Art’s Sake, Archive Austria / Contemporary Art. Curated by Peter Noever
FABRICA Editorial, 2014.
p.112

FranzGraf-See What Sees you ©Catalogue 2014 21er Haus, Vienna.
Editos: Agnes Husslein-Arco, Severin Dünser pp. 100, 101, 136, 158

”SALONG FLYTTKARTONG” Book ©Linnea Sjölberg 2014
Nilleditions
Tryck av Holmbergs, Malmö. pp. 37, 38, 101, 102.

Vrai ou Faux?
©Veronique Bougoin, 2013
Editorial Fotohof & Royal Book Lodge newspaper p.53
book p.177

Texts

Edited by Hand-Peter Wipplinger Published by Walter König
p.0 (Cover Photo)

Fractional Systems Catalogue
Garage Project ll, Schindler Haus, MAK Center Los Angeles, 2010 pp. 102, 103, 104, 105
©ARTFORUM magazine
LA FREAK, C’EST CHIC
2008, Paris

Chinese Synthese Leberkäse
by Gelatin
Book published in juntion with exhibition
Kunstler Haus Bregenz 2006
Printed by BUCHER Kunst Verlag Netzwerk, Hohenems pp. 46, 57, 59

Gelatin’s Sweatwat
Sweatwat Publication © 2006 Gagosian Gallery
Editors- Stefan Ratibor, Kay Pallister and Alison McDonald Copy Editors- Nicole Heck and Donnald Kennison
p.29

Sammlung Taubenstrasse Catalogue concept by Tjorg Beer
Revolver, 2004
p.42

In Sara Glaxia’s work, the relation between production of the “self” through photography and the problem of the “I’s” authenticity is defined throughly differently. These are her personal experiences that the artist hyperbolises and transcribes into the contest of performances “about her self” . Glaxia works mostly with her own image and the masquerade of being, while photography remains for her yet another area of operation that enables her to produce and distribute her own image. Documentation of Glaxia’s narrative and performances reveals the performative character of photography operating simultaneously as an independent medium, and as one associated with her performances. – TECHNICS OF RELEASE © Galeria Fotografi pf, 2015, Book Published by ZAMEK Culture Center, Poznan, Poland, p. 130 )

Sara Glaxia is one of the most versatile and multifaceted Mexican contemporary artists. Her virtue is to represent pain, madness, human anxiety without any preludes or explanations. She tends to use an expressive primitivism (at times playful, sometimes tormented) and allows things or happenings to proceed in a natural fashion. Her sensitivity and character allow her to pave the way for artistic events to express themselves. She is an artist full of life, one defying classification, having lived in various countries of the world. Her intuition, a rebellious nature and shrewdness when it comes to dealing with the body, objects, and her own obsessions grant her a character that’s unpredictable, yet always faithful to her own creative temper. Her rebellion is genuine and her intent (whether conscious or not) takes her work to unpredictable extremes. Sara Glaxia is her own language and in such a way she adapts herself to dance, music, painting or performance so as to transform them, deform them, transform them into happenings and objects of a different world. She is an extraordinary artist, a risky outsider whose future is being built every day. Every action and work of Sara’s is exhausting by itself (appearing/disappearing) and definitive; in her art, the center is the periphery and the rebel act. – Guillermo Fadanelli

Keine Linie, kein Strich, kein Punkt in Sara Glaxias Zeichnungen und Bildern,
wenn auch gekonnt gesetzt, ist routiniert, nicht von dem zu Sehenden will
schon gesehen worden sein, keines ihrer fantastischen Wesen schon entdeckt.
Unsere ältesten und unbekanntesten Freunde und Freundinnen stellen sich
uns in ihren Bildern vor. Und mit ihnen wird vertraut-ungewöhnliches vor der
Künstlerin in eine Arena geworfen, welche sich der Welt dermassen öffnet,
dass sich weitesten Ausdehnungen dieses Bühne irgendwann wieder treffen
und schließen müssen. Mit ein wenig Glück kann man dann als Betrachterin
sein Plätzchen zwischen Tusche und Papier finden und gesehen, wie sich
eine Schlange zärtlich um ein Männchen kümmert, das stur gegen seine
eingene Seele rennt… – Alexander Emanuely