Sara Glaxia (b. 1982, Mexico) lived and works in Salzburg, Vienna, Berlin and Los Angeles. in 1998 started private art lessons by artist Yoshua Okón in Mexico City and assisted Carlos Amorales and Joan Jonas for the show “Stop Light Passtime” in Museum Carrillo Gil in Mexico City in 1999. In the year 2000 started to study at Academy of Fine Arts Vienna with professor Franz Graf. From the year 2001 to 2008 worked and toured with the art group “Gelitin” where earned her title as “bunny”. By the year 2003 became pupil of artist Raymond Pettibon, then also worked as his drawing marionette till early 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, documents 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, 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,

Music event“Break my brick” at Liverpool Biennial, (2004)

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


Collections,

Lucciano Benetton Collection

Royal Book Lodge

Item Editions


Bibliography (selected)

Sara Glaxia – Serpentine Illusions. The book contains 60 drawings and texts from Sara Glaxia realized 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 realized 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

Sara Lucas, Hieronimus Bosch, Gelatin ©2011 Catallogue, 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 junction 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


Texts

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


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


Keine Linie, kein Strich, kein Punkt in Sara Glaxias Zeichnungen un 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

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