Copyright © belongs to Paula Lopez Zambrano and the artists.

 

contact - paula.lopez.zambrano@gmail.com

 

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Untitled, Fiona Sarison, 1970.

Courtesy of Mary Sarison

and the Fiona Sarison Estate.

Research +

 

 

Based around interpretations of and experimentations with the notion of contingency, my research takes the form

of exhibitions, screenings, public programmes, residencies and texts. I am interested in studying, representing and provoking accidents and contingency, whilst also developing an openness towards the unfamiliar and unknown. This has led to research trips based in chance encounters with museums, galleries and non-for profit spaces across Mexico, Europe and Japan. Ultimately, it has led me to the Department of Visual Cultures at Goldsmiths, where

I am currently writing a practice-based PhD thesis. Starting from an educational training in History of Art in Mexico City and Curatorial Studies in London, I am developing a profile focused on the theoretical analysis and practical use of contingency, including the investigation of other subjects associated with it. This manifests in the curating

of projects and the publication of texts in international magazines; examining related topics such as memory, violence, human potential, anachronism, flirtation and synchronicity.

 

My practice is also defined by an interest in weaving new connections, forming new discourses, and putting into dialogue different aesthetic languages. I have taken part in curatorial exchanges and residency programmes.

This has led me to curate collaborative projects between artists, curators, institutions and audiences from different parts of the world. I have also developed an interest in the possibilities of exhibiting contemporary art in historical places. In order to explore contingency as a methodology in the formation of exhibitions, I have also developed

an interest in utilising contingent means; these include the exchange of art by traditional post, simultaneous screenings, live broadcasts and an emphasis on programming, (performance and events), commissioning

the production of new works and site-specific projects. Lastly, this personal journey is defined by a collection

of fortuitous encounters, understanding the curatorial practice as a living and contingent experience rather

than a fixed or stationary outcome.