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Patricia Domínguez, The Patron of Ceramics, 2014. Installation of broken ceramics, objects, horsehair, plastic objects, drawing, oil painting and car light. Dimensions Variable. Produced during Cancha Residency, Santiago. Courtesy of the artist.

Patricia Domínguez, You are a Prince-ss, 2013. Digital print. Produced at FLORA residency, Colombia. Courtesy of the artist.

Patricia Domínguez, The eyes will be the last to pixelate #1, 2016. Installation view, Galería Patricia Ready, Santiago. Produced at El Ranchito Residency, Centro Matadero Madrid and CCE Santiago. Courtesy of the artist.

Patricia Domínguez, The eyes will be the last to pixelate, 2015. Still. HD video, audio, 08:50 min. Courtesy of the artist.

Patricia Domínguez works across video, installation, drawing and writing. Her work traces the relationships of affection, labour and obligation that are emerging from the ongoing digitisation of all aspects of life, and rise of the precariat as a social class. She positions her work as a form of radical visual anthropological research into the ways that living beings are seen and categorised, and how experiences are shaped by images and subjectivities rather than objective facts. Her aim with each project is to trace, modify, and re-imagine the genealogies behind these relationships and the underlying subjective processes at play in their construction. The video installation, Eres un Princeso (2013), for instance, investigates the relationships between Colombian narco-traffickers, their trophy horses, and the child workers who care for them, revealing the colonialist roots of these horse-human relationships and revealing the violence inherent in everyday actions.

During her residency at Gasworks, Patricia will research the displays used in bank lobbies and make her own versions of them. These transformed vitrines will function as cabinets, containing conceptual-scientific watercolours of the material remains of the English businessmen that went to Chile to exploit copper and saltpeter mines in the 19th century. These remains have been collected by her imagined archaeologist, architect and ex-hunter grandfather and are part of a museum called “The Museum of the Seagulls" that he founded in the Chilean desert. Taking this museum as a conceptual and visual basis, she will further research the relationship between the remains of industrial colonisation and contemporary pains in both the physical and social body, exploring the emancipatory role that imaginative practices can have in relation to the ever-growing corporate cosmos.


Patricia Domínguez lives and works in Santiago. She earned an MFA at Hunter College New York in 2013. Recent solo exhibitions include CCU Gallery, Santiago (2017); Pizzuti Collection Museum, Columbus Ohio; Galería Patricia Ready, Santiago; and Focus Latinamérica, ARCO Madrid (all 2016). Recent group exhibitions include Hasta que las cosas y los cuerpos sean como queremos que sean, Centro CA2M, Madrid (2017); Cantos de Tarapacá, CCE Santiago (both 2017); Tráficos y otros poemas de Shile, Nube Gallery, Santa Cruz de la Sierra; and De Naturaleza Violenta, FLORA, Bogotá (2013); and Voluptuous Panic, The Watermill Center, New York. She recently won the 2nd Beca CCU (2015), the Media Art Prize from Fundación Telefónica and 3rd Norberto Griffa Prize (both 2014).

Patricia Domínguez’s residency is supported by Fundación AMA. She is hosted in the Juan Yarur Torres Residency Studio.