DIVERSEartLA

Project: The Roads in You
Artist: Yoon Chung Han
Curator: Ho Tzu Nyen
Booth 113

The Roads in You (formerly Roads of Your Veins) is an interactive biometric data artwork that invites participants to scan their veins and discover the roads that trace their unique vein patterns. Vein data, one of the most intriguing forms of biometric information, reveal intricate networks whose lines resemble the roads and pathways that surround us. The comparison highlights how our vascular networks and the roads of the world share principles of connectivity, flow, and direction, yet vary in speed, intensity, and condition.

This new work examines line segmentation, vascular structure, and the parallels between inner and outer routes, veins and roads alike, diversely weaving through bodies and landscapes. Participants may export their data as a personalized keepsake in the form of 3D-printed sculptures, turning a moment of data collection into a tactile, enduring memory of the encounter.

The Roads in You invites an exploration of the relationship between individuals and their environments, revealed through hidden patterns beneath the skin, vein recognition technologies, image processing, and artificial intelligence. It also gestures toward broader possibilities: how complex datasets can be interpreted through beauty, ambiguity, and wonder.

Notes for visitors: Your participation is voluntary. All data collected is anonymized and used solely for the artistic experience and the creation of your personalized keepsake, if you opt in. The project foregrounds curiosity about how we see and measure the body, environment, and the space they share. Consider how the intimate map of your veins can illuminate connections to the world around you, and what stories emerge when art, science, and technology meet.

Project: Land-Escape and The Aura of Distance
Artist: Arden Bendler Browning (with programming by Matt Browning and sound composition by Phil Calato)
Co-Curators: Jonell Logan, Hannah Barco
Booth 114

Land-escape and the Aura of Distance is a multi-faceted digital installation using projectors, colored light, Mixed Reality headsets, sound, and physical paintings.

Visitors will be able to explore a series of interactive abstract digital landscapes created by Bendler Browning in an ever-changing journey through virtual worlds. These imaginary spaces are inspired by plein air drawings made while moving through real world travels, and studio painted impressions of shelters and vistas.

Donning a Mixed Reality headset, viewers will see their real world surroundings as well as gesturally painted virtual environments existing only within the headset. Visitors are presented with the opportunity to move through vibrant, immersive painterly environments while walking only steps within the exhibition space. The series of Mixed Reality environments offer a range of experiences, movements and viewpoints which offer agency into how much of any one place or time is possible to be seen or navigated. Environments include : windows revealing slowly drifting landscape paintings, with expanded gestures only visible through the window frames; a painting that has become the entire space of the floor and grown upward to resemble a jungle of painted marks which disappear when a visitor moves through them; a series of paintings which grow beyond their edges when an individual walks close to them; a painting growing downward from the ceiling, wondering whether the world makes any sense at all.

Within the physical environment but also visible through the headsets, visitors also encounter a series of large and small animated projections. The projections are the result of a live computer program which merges physical and virtual paintings and relays a fluid travelogue through an endless evolution of imagery. The two screens offer dual views of the same route marked by painting landmarks, but one view is a forward motion while the other is a reverse. While each individual has a personalized experience within their own headset, they can see other visitors also wearing a headset and moving through their own unique path. Participants simultaneously experience a communal space while sectioned away from each other, akin to virtual meetings and online interactions.

A pulsating soundtrack composed of natural and mechanical rhythms moves along with the projections and Mixed Reality environments. Birdsong, wind, footsteps, traffic, mixed with background punctuation from familiar artificial noise connects the installation to a hybrid sense of indoor/outdoor and organic/artificial. As the digital age and artificial intelligence continue to grow while the natural environment is threatened by climate change, this installation alludes to questions of what future landscape may be.

The New York Latin American Art Triennial (NYLAAT) has established itself as one of the most active institutional platforms dedicated to the promotion, research, and dissemination of Latin American art in the United States. With an internationally oriented curatorial model and a network of venues across New York City, the Triennial advances initiatives that strengthen Latin America’s cultural presence in one of the world’s most influential artistic capitals.

Its programming encompasses large-scale exhibitions, artist residencies, educational projects, specialized publications, and ongoing collaborations with museums, universities, and cultural organizations. These efforts foster a transnational dialogue that connects artists from Latin America and its diaspora with global audiences, expanding opportunities for recognition and visibility within the international art circuit.

More than a periodic event, NYLAAT functions as a dynamic institution that researches, supports, and amplifies diverse contemporary practices. Its mission is to create spaces of recognition for the multiple voices of Latin American art, promote new critical perspectives, and contribute meaningfully to the strengthening of Latin America’s presence within the global cultural landscape.

The Game: Biennial of Biennials

The documentary addressing the XVII Cuenca Biennial unfolds as a visual research tool that, through the lens of play, explores the dynamics that influence the artistic and curatorial creation of this edition. Here, the camera acts as an epistemological resource that offers the opportunity to observe the phases of creation, their tensions and methodologies, unveiling the procedural aspect of each proposal and its staging.

Play, seen as a mental strategy, an experimental environment, and a flexible structure of meaning, becomes the core for analyzing the practices of the artists and curators involved. Each proposal is considered from an angle that highlights its internal logic, its systems of rules, its trial-and-error methods, and the shaping of alternative worlds. Likewise, the film investigates the curatorial role as an act of translation, negotiation of ideas, and mediation that organizes meanings within the exhibition space.

Through a meticulous approach, the visual record emphasizes the connections among curators, artists, works, conflicts, and staging; the critical actions that support each work; and the reflective processes that shape each exhibition. Thus, the film, in addition to capturing the process of installing the XVII Biennial, generates knowledge about it, positioning play as a category of analysis and a practice that shapes the artistic and curatorial dynamics of contemporary art.

Nomade Biennial is a project created by the critic and curator Hernán Pacurucu from Ecuador and the visual artist and independent Chilean curator Víctor Hugo Bravo, from 2015 to the present. It is a space in transit, a multiple collectivity that, from autonomous and independent production, generates a series of reflections on the systems and visibility of contemporary art. A collectivity in transit generating thought, addressing border or institutional exhibition spaces, conducting workshops, publications of books, conferences, mobile residences, settlements, and multiple interdisciplinary alliances as a platform, a biosphere of autonomous economy, which articulates other forms of human relationship rooted in utopias, experiments, mistakes, and reflections in relation to the context.

Articulating a political and emotional view of the new forms of social gathering, fundamentally anchored in collaborative work and affects. Creating multiple networks that generate work nodes, enabling spaces and bringing people together under a common ideological umbrella. Cultivating from artistic creation possible scenarios of communication and coexistence that shape society. Nomade configures new ways of understanding the biennial format, developing a series of deconstructive strategies.

SACO Corporation is a nonprofit cultural organization that positions itself internationally due to the impact of its management and its quantitative and qualitative results in the major copper and lithium mining capital. Its work has expanded the visual arts in Latin America through exhibitions, research at the intersection of art and science, educational programs, interventions in natural spaces, and artistic residencies in the world’s driest desert.

Since 2012 it has developed the SACO Contemporary Art Biennial. Each edition is carried out under a different curatorial concept and is distinguished by its “museum without a museum” program, which transforms places not necessarily tied to culture into spaces where the community encounters art. Following the exhibitions, the artwork materials are reused, under a pioneering circular economy logic in the international biennale ecosystem. In addition to exhibitions, SACO organizes residencies, in which artists from around the world can approach the planet’s clearest skies, engage with the indigenous cultures of the region, and connect with leading scientists in fields related to the Atacama Desert, such as geology, microbiology, astronomy, among others.

The corporation’s mission is to establish a permanent center of reflection and dialogue through the artwork, addressing the absence of institutions dedicated to pursuing these aims in the Antofagasta region. All its educational activities come together in its permanent education program, a school without a school. To date, the Corporation’s activities have been carried out in Chile, Argentina, Mexico, Colombia, Brazil, Germany, Ecuador, Spain, Switzerland, Poland, and Norway.

The WTA Organization was founded in 1997 in the city of Miami, Florida, United States, under the name Women in Textile Art. Pilar Tobón, a curator and Colombian textile artist, posed this great challenge given the need to reclaim textile art at local and global levels. Tobón has always pursued the objectives of supporting, disseminating, promoting, and fostering textile artists and their works.

In 2009, given the inclusive and universal character of textile art, the name was changed to World Textile Art. The World Textile Art Biennial has been held since 2000. It has taken place in the United States (2 editions), Venezuela, Costa Rica, Argentina, Mexico, Uruguay, Spain, and Chile.

To meet the outlined objectives, the director created the WTA Contemporary Textile Art Biennial, nomadic in nature, unique in its kind in the world. This first version was held in 2000 at the Museum of Latin American Art of Florida. With the Biennial, local cultural practices and the natural and human diversity of the host country are promoted and disseminated to visitors from around the world who attend the great textile gathering.

The Gwangju Biennale is an international contemporary art event founded in South Korea in 1995, established in memory of the 1980 Gwangju Democratization Movement. It is one of Asia’s oldest and most prestigious biennials, held every two years, and features exhibitions, performances, and educational programs from around the world. Hosted by the Gwangju Biennale Foundation and the city of Gwangju, it serves as a platform for cultural exchange and discourse, with a mission to promote art, cultural history, and the city itself.

Co-Curated By: Marisa Caichiolo & Dermis León

Inter-Reality, by artist Norton Maza, curated by Marisa Cachiolo and Dermis León and managed by Claudia Pertuzé, also as part of the team Beatrice Di Girolamo and architect Mathias Klotz, was selected to represent Chile at the 61st Venice Art Biennale, an event to be held from May 9 to November 22, 2026, in the Italian city. Chile’s participation in the Venice Biennale is the result of inter-institutional collaboration between the Ministry of Cultures, Arts and Heritage, through its Secretariat of Visual Arts, the Ministry of Foreign Affairs, through the Division of Cultures, Arts, Heritage and Public Diplomacy (DIRAC), and the Embassy of Chile in Italy.