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Monika Bravo (born 1964) is a multi-disciplinary artist born in Bogotá, Colombia, who lives and works in New York, New York. Her work has been internationally exhibited, including at Stenersen Museum in Oslo; Seoul's International Biennial of New Media Art; Bank of the Republic in Bogotá; New Museum and El Museo del Barrio in New York City and Site Santa Fe.〔(Biography on Site Santa Fe's Website ). URL accessed on 1 February 2014.〕〔(Biography on Monika Bravo's Website ). URL accessed on 1 February 2014.〕 Her work has received acclaim including a 1999 ''New York Times'' review which called her piece ''Synchronicity'' (from a group exhibition at El Museo del Barrio) a "standout...small, beautifully blurry video images of boats plowing through New York Harbor..."〔(The New York Times' "Art Review" ). URL accessed on 1 February 2014.〕 In 1982, Bravo left Bogotá, moving to Rome to study fashion design, which she continued in Paris at Esmod, before traveling to London to study photography. In 1994 she moved to New York where she is currently still based.〔("20 Questions: Monika Bravo" on The City Paper, 26 February 2013 ). URL accessed on 1 February 2014.〕〔Myriam Bautista (4 July 2013) ("Imágenes en movimiento" ) El Tiempo (Colombia)〕 ==Career== Among Bravo's most well-known artworks is ''September 10, 2001, Uno Nunca Muere La Vispera'' dedicated to artist Michael Richards who died in Tower One on the morning of the September 11 attacks. In summer 2001 Bravo was an artist-in-residence in the Lower Manhattan Cultural Council's World Views program.〔(World Views: Participating Artists ). URL accessed on 1 February 2014.〕〔Tara Bahrampour (September 30, 2001), (Losing a Studio, but Not a Calling ) The New York Times〕 As described in a 2006 book: In 2010, Bravo was one of four winning artists in New York City's "urbancanvas" design competition with her work "Breathing Wall UC".〔(Press Release ). URL accessed on 1 February 2014.〕 Most recently Bravo Represented the Vatican City in the Pavilion of the Holy See at the 56th International Art Exhibition of the Venice Biennial with her work "ARCHE-TYPES: The sound of the word is beyond sense". With this new work, she continues with her interest in coding/decoding information, the interest in the language of abstraction and an ongoing pursuit to decipher reality by means of perception. She created a parallel between the prologue of the Gospel of John In the Beginning..., (given to her by the curator of the Pavilion, Micol Forti), Malevich’s ideas behind Suprematism * and the definition of Zaum by the avant garde Poet Aleksei Kruchenykh * *. Among her most recent exhibitions are Waterweavers curated by José Roca and Alejandro Martín, Art Museum of the Americas, Washington DC 2015, Centro Conde Duque, Madrid 2015 and Bard Graduate Center, New York 2014; Theorem. You Simply Destroy the Image I Always Had of Myself curated by Octavio Zaya, MANA Contemporary, Jersey City NJ 2015; Landscape of Belief (solo), Y Gallery, New York 2015; Affective Architectures, Aluna Art Foundation, Miami FL 2014; URUMU (solo), NC-Arte, Bogotá 2014; Common Ground: Earth, Borusan Contemporary, Istanbul 2014. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Monika Bravo」の詳細全文を読む スポンサード リンク
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