Through a complex research-oriented practice, Allora & Calzadilla critically address the intersections and complicities between the cultural, the historical and the geopolitical. The interdisciplinary nature of their interventions is echoed by an expanded use of the artistic medium that includes performance, sculpture, sound, video and photography. Their dynamic engagement with the art historical results in an acute attention to both the conceptual and the material, the metaphoric as well as the literal.
The Puerto Rico-based artists have studied the ephemeral nature of collective drawing with monumental sticks of chalk at the Biennial de Lima, Peru (Chalk [Lima], 1998–2002); the imprints of colonial, nationalist, and military violence on the diverse populations and landscapes of Vieques, Puerto Rico (Land Mark (Foot Prints), 2001–2002; Land Mark, 2003; Returning a Sound, 2004; Under Discussion, 2006 and Half Mast/Full Mast, 2011); and the resonance of playing, warping and combining music from various moments in history (Clamor, 2006; Wake Up, 2007; Sediments Sentiments- Figures of Speech, 2008; Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano, 2008; Raptor’s Rapture, 2012; Apotomē, 2013; 3, 2013); as well as the entanglement between biophysics, semiotics and actuality (Growth, 2004; Puerto Rican Light - Cueva Vientos, 2015).
Jennifer Allora (b. 1974) received a BA from the University of Richmond in Virginia (1996) and an MS from the Massachusetts Institute of Technology (2003); Guillermo Calzadilla (b. 1971, Cuba) received a BFA from Escuela de Artes Plásticas, San Juan, Puerto Rico (1996) and an MFA from Bard College (2001). Collaborating since 1995, Allora & Calzadilla were finalists for the Hugo Boss Prize (2006) and the Nam June Paik Award (2006). They are the recipients of other prizes, including DAAD, Deutscher Akademischer Austauschdienst (2008-2009); the Gwangju Biennial Prize (2004); Penny McCall Foundation Grant (2003); Joan Mitchell Foundation Grant (2002); and the Cintas Fellowship (2002-2001).
Their most important exhibitions include ‘Allora & Calzadilla: Echo to Artifact’, Art Gallery of Alberta, Edmonton, Canada (2016); ‘Split The Lark’, Royaumont Abbey, Asnières-sur-Oise, France (2016); ‘Puerto Rican Light (Cueva Vientos)’, a DIA Art Foundation Commission in Guayanilla/Penuelas Puerto Rico (2015); ‘Intervals’, Philadelphia Museum of Art and the Fabric Workshop and Museum, Philadelphia, PA, USA (2014); ‘Apotomē’, REDCAT, Los Angeles, CA, USA (2014); ‘Fault Lines’, Fondazione Nicola Trussardi at Palazzo Cusani Milan, Italy (2013); Kaldor Public Art Projects, Sydney, Australia (2012); Indianapolis Museum of Art, Indianapolis (2012); ‘Gloria’, US Pavilion, 54th Venice Biennial, Venice, Italy (2011); ‘Performance 9: Allora & Calzadilla’, MoMA, New York, NY, USA (2010); The National Museum of Art, Architecture and Design, Oslo, Norway (2009); Temporäre Kunstalle Berlin, Berlin, Germany (2009); Kunstmuseen Krefeld, Museum Haus Esters, Krefeld, Germany (2009); ‘Stop, Repair, Prepare: Variations on Ode to Joy for a Prepared Piano’, Haus der Kunst München, Munich, Germany (2008); ‘Wake Up, Clamor, Sediments, Sentiments (Figures of Speech)’, Kunstverein München, Munich, Germany (2008); ‘Never Mind that Noise you Heard’, Stedelijk Museum Amsterdam, The Netherlands (2008); ‘Clamor’, Serpentine Gallery, London, United Kingdom (2007); Kunsthalle Zürich, Zürich, Switzerland (2007); ‘Wake Up, The Renaissance Society’ at The University of Chicago, Chicago, IL, US (2007); Whitechapel Art Gallery, London, UK (2007); Stedelijk Museum voor Actuele Kunst SMAK, Ghent, Belgium (2006); and ‘Land Mark’, Palais de Tokyo, Paris, France (2006).
Moreover, their work has been included in group exhibitions at institutions such as the Los Angeles County Museum of Art, CA, USA (2017); The Royal Academy of Arts, London, UK (2016); Museo de Arte Latinoamericano de Buenos Aires MALBA, Buenos Aires, Argentina (2015); Museum Lenbachhaus, Munich, Germany (2015); Barbican Centre, London, UK (2015); Centre Pompidou, Paris, France (2014); Solomon R. Guggenheim Museum, New York, NY, USA (2014); Muséum National d’Histoire naturelle, Paris, France (2013); Museo de Arte Contemporáneo de Castilla y León MUSAC, León, Spain (2011); Princeton University Art Museum, Princeton, NJ, USA (2010); Power Plant, Toronto, Canada (2010); Aspen Art Museum, Aspen, CO, USA (2010); Museu de Arte Moderna de São Paulo, Brazil (2009); The New Museum, New York, NY, USA (2008); Museo d’arte Moderna e Contemporaneo MUSEION, Bolzano, Italy (2008); Cincinnati Contemporary Arts Center, Cincinnati, OH, USA (2007); Smith College, Northampton, USA (2007); Mori Art Museum, Tokyo, Japan (2007); Grand Palais, Paris, France (2006); and Hamburger Bahnhof Museum, Berlin, Germany (2006), among others.
They have participated in various biennales, such as the 56th and 51st Biennale di Venezia International Art Exhibition, Venice, Italy (2015, 2005); the 10th and 7th Gwangju Biennale, Gwangju, South Korea (2014, 2008); the 9th and 6th Mercosul Biennial, Porto Alegre, Brazil (2013, 2007); the 30th Ljubljana Biennial of Graphic Arts, Ljubljana Slovenia (2013); dOCUMENTA (13), Kassel, Germany (2012); the 12th and 10th Istanbul Biennial, Istanbul, Turkey (2011, 2007); the 29th and 14th Biennial de São Paulo, São Paulo, Brazil (2010, 1998); 16th Biennale of Sydney, Australia (2008); the 9th Biennale de Lyon, Lyon, France (2007); the 1st and 2nd Moscow Biennale of Contemporary Art, Moscow, Russia (2005, 2007); the 8th Sharjah Biennial, Sharjah, United Arab Emirates (2007); the 2006 Whitney Biennial, Whitney Museum, New York, NY, USA (2006); the 2nd Guangzhou Triennial, Guangdong Museum of Art, Guangzhou, China (2005); the 6th Dakar Biennale, Dakar, Senegal (2004); the 3rd Biennale Iberoamericana, Lima, Peru (2002); and the 7th Biennial de la Habana, Havana, Cuba (2000). Allora and Calzadilla live and work in San Juan, Puerto Rico.
Current and Recent Projects: