Clarissa Tossin

Formação acadêmica
2009
– M.F.A. em Arte, California Institute of the Arts (CalArts), Valencia, EUA
2000
– B.F.A., Fundação Armando Álvares Penteado, São Paulo, SP

Exposições individuais
2020
– “Circumnavigation Towards Exhaustion”, La Kunstalle Mulhouse, França
2019
– “Future Fossil”, Radcliffe Institute for Advanced Study, Harvard University, Cambridge, EUA
– “21st Century Wisdom: Healing Frank Lloyd Wright’s Textile Block Houses”, 18th Street Arts Center, Santa Monica, EUA
2018
– “Azul Maia”, Galeria Luisa Strina, São Paulo, SP
– “Encontro das Águas (Meeting of Waters)”, Blanton Museum of Art, Austin, EUA
2017
– “The Mayan”, Commonwealth & Council, Los Angeles, EUA
– “Stereoscopic Vision”, Ezra and Cecile Zilkha Gallery, Wesleyan University, EUA
2016
– “Meeting of Waters”, JOAN, Los Angeles, EUA
2015
– “Brasília Teimosa”, Galeria Baobá, Fundação Joaquim Nabuco, Recife, PE
– “How does it travel?”, Samuel Freeman, Los Angeles, EUA
– “Streamlined: Belterra, Amazônia/Alberta”, Michigan, Museum of Latin American Art, Long Beach, EUA
2014
– “Transplanted (VW Brasilia)”, Galeria Luisa Strina, São Paulo, SP
2013
– “Brasília, Cars, Pools & Other Modernities”, Artpace, San Antonio, EUA
– “Blind Spot, Blaffer Art Museum”, University of Houston, Houston, EUA
– “Study for a Landscape”, Sicardi Gallery, Houston, EUA
2012
– “On Brasília”, Centre 3, Hamilton, Canadá
2011
– “Gasto”, Galeria Luisa Strina, São Paulo, SP

Exposições coletivas
2020
– “Kissing Through a Curtain”, MASSMoCA, EUA
– “ReVisión: Art in the Americas”, Denver Art Museum, EUA
– “Mecarõ: Amazonia in the Petitgas Collection”, MO.CO. Hôtel des Collections, Montpellier, França
– “Farsa”, Sesc Pompéia, São Paulo, SP
– “InterStates of Mind: Rewriting the Map of the United States in the Age of the Automobile”, Broad Art Museum, Michigan State University, EUA
– “Seismic Movements: Dhaka Art Summit”, Bangladesh Shilpakala Academy, Bangladesh
2019
– “Crossing Lines, Constructing Home: Displacement and Belonging in Contemporary Art”, Harvard Art Museums, Cambridge, EUA
– “García, Raina, Shore, Tossin”, Luhring Augustine, Nova Iorque, EUA
– “Place: Jane Benson, Joseph Havel, Leslie Hewitt, Rick Lowe, Clarissa Tossin”, Hiram Butler Gallery, Houston, EUA
– “Museum of Modern Art and Western Antiquities, Section II”, Department of Carving and Modeling: Form and Volume, Cristina Guerra Contemporary Art, Lisboa, Portugal
– “LAMOA DS#7”, Commonwealth and Council, Los Angeles, EUA
– “Mundos Alternos: Art and Science Fiction in the Americas”, Queens Museum, EUA
– “Bagage Claims”, Weisman Art Museum, University of Minnesota Minneapolis, EUA
2018
– “Pacha Llacta Wasichay: Indigenous Space”, Modern Architecture, New Art, Whitney Museum, Nova Iorque, EUA
– “12th Gwangju Biennial: Imagined Nations/Modern Utopias”, Gwangju, Coréia do Sul
– “Other Walks, Other Lines”, San Jose Museum of Art, EUA
– “Mon Nord best ton Sud”, Kunsthalle Mulhouse, Mulhouse, França
– “The House Imaginary”, San Jose Museum of Art, San Jose, EUA
– “Emerald City”, K 11 Art Foundation, Hong Kong
– “PST/CST”, BANK/MAB Society, Xangai, China
– “Bagage Claims”, Weatherspoon Art Museum, EUA
– “In Any Direction”, Radcliffe Institute for Advanced Study, Harvard University, EUA
2017
– “Condemned To Be Modern”, parte de Getty Foundation’s Pacific Standard Time: LA/LA – LAMAG, Los Angeles, EUA
– “Mundos Alternos: Art and Science Fiction in the Americas”, parte de Getty Foundation’s PST: LA/LA California Museum of Photography, University of California, Riverside, EUA
– “Visual Intelligence”, Radcliffe Institute for Advanced Study, Harvard University, EUA
– “Bagage Claims”, Orlando Museum of Art, EUA
– “Vernacular Environments”, Edward Cella, Los Angeles, EUA
– “99 Cents”, Museum of Contemporary Art Detroit, EUA
– “Lives Between”, KADIST, San Francisco, EUA e The Center for Contemporary Art, Tel Aviv, Israel
– “Between Words and Silence: The Work of Translation”, Armory Center for the Arts, Pasadena, EUA
2016
– “Trans-Americas: A sign, a situation, a concept”, Museum London, Canadá
– “MetaModern”, De Vos Art Museum, EUA e Palm Springs Museum of Art, EUA
– “Everyday Reflections in Abstraction”, Space Collection, Irvine, EUA
– “Customizing Language”, LACE, Los Angeles Contemporary Exhibitions, EUA
2015
– “United States of Latin America”, Museum of Contemporary Art Detroit, EUA
– “After Landscape”, Fabra i Coats Centre d’Art Contemporani, Barcelona, Espanha
– “MetaModern”, Krannert Art Museum, Scottsdale Museum of Contemporary Art, Orlando Museum of Art, EUA
2014
– “Unsettled Landscapes”, SITE Santa Fe, EUA
– “Made in L.A.”, Hammer Museum, Los Angeles, EUA
– “Bringing the World into the World“, The Queens Museum, Nova Iorque, EUA
– “Liberdade em Movimento”, Fundação Iberê Camargo, Porto Alegre, RS
– “Dispositivos para um mundo (im)possível”, Roesler Hotel, São Paulo, SP
2013
– “Southern Panoramas – 18o Festival Internacional de Arte Contemporânea Sesc_Videobrasil”, SESC Pompéia, São Paulo, SP
– “La Elipsis Arquitectónica”, Centro Cultural Universitario Tlatelolco, Cidade do México, México
2012
– “When Attitudes Became Form Become Attitudes”, CCA Wattis Institute, San Francisco; Museum of Contemporary Art Detroit, EUA
2012
– “Dallas Biennial”, Dallas Contemporary, Dallas, EUA
– “2012 Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, EUA
2011
– “Building Arts”, Sicardi Gallery, Houston, EUA
– “Material Differences”, The McKinney Avenue Contemporary, Dallas, EUA
– “Young Latino Artists 16: Thought Cloud”, Mexic-Arte Museum, Austin, EUA
– “Nowhere Near Here”, Houston Center for Photography, Houston, EUA
2011
– “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, EUA
2010
– “The First Thing”, Redling Fine Art, Los Angeles, EUA

Prêmios e residências
2019
– Foundation for Contemporary Arts Grants to Artists Award, Nova Iorque, EUA
– Fellows of Contemporary Art Fellowship, Los Angeles, EUA
– Artist Lab Residency, 18th Street Arts Center, Santa Monica, EUA
– Juméx Foundation Research Grant, Artist Lab Residency, 18th Street Arts Center, Santa Monica, EUA
– LAB VERDE: Art Immersion Program in the Amazônia, Manaus, AM
2018
– Los Angeles Artadia Awards, EUA
2017-18
– Radcliffe Institute Fellowship – Harvard University, EUA
2016
– The City of Los Angeles for Getty Foundation’s Pacific Standard Time: LA/LA exhibition, EUA
2015
– Residency Fellowship, Fundação Joaquim Nabuco, São Paulo, SP
2014
– Emerging Artist Fellowship, California Community Foundation, EUA
2013
– ARTPACE, International AIR, San Antonio, EUA
– ARC Grant, Center for Cultural Innovation, EUA
2012
– Artistic Innovation Grant, Center for Cultural Innovation, EUA
– VI Concurso de Videoarte Grant, Fundação Joaquim Nabuco, São Paulo, SP
2011
– SOMA Residency, Cidade do México, México
2010-12
– Core Program Fellowship, Museum of Fine Arts Houston, EUA
2010
– Fundación Botín, Santander, Espanha
2009
– Skowhegan School of Painting & Sculpture 

Exibições individuais de filmes 
2019
– “New Media Series: Clarissa Tossin”, Saint Louis Art Museum, EUA
– “Ch’u Mayaa”, Smith College Museum of Art, EUA
– “Ch’u Mayaa”, Experimental Media and Performing Arts Center, Rensselaer Polytechnic Institute, Nova Iorque, EUA
2018
– When the Land Speaks: Clarissa Tossin, Broad Museum, Michigan State University, EUA

Coleções públicas
– Los Angeles County Museum of Art – LACMA, Los Angeles, EUA
– Whitney Museum of American Art, Nova Iorque, EUA
– Harvard Art Museums, Cambridge, EUA
– Smith College Museum of Art Kadist Art Foundation, San Francisco, EUA
– The Museum of Fine Arts, Houston, EUA

Bibliografia selecionada
– Janelle Zara, “How Clarissa Tossin uses Amazonian tribal lore and retro sci-fi to address looming ecological disasters”, Art Basel Magazine (April 2019)
– Jennifer Remenchik, “Clarissa Tossin at 18th Street Arts Center”, Contemporary Art Review LA (March 13, 2019)
– Camila Belchior, Review: “Clarissa Tossin”, ARTFORUM (February 2019)
– Maximilíano Durón e Alex Greenberger, “15 Los Angeles Artists to Watch”, ARTNews (winter 2019)
– Ming Lin, “The Phantom of Gwangju: Historical and Political Specters at the 2018 Biennale”, ARTNews (Nov. 09, 2018)
– Virginia Black, “Place”, “Town”, “To Make a House”: Metonyms of Identity at the Whitney, The Avery Review
– Jillian Steinhauer, “What to See in New York Art Galleries This Week”, The New York Times, (September 13, 2018)
– Ananda Cohen-Aponte, “Latinx Artists Are Highlighted for the First Time in a Group Show at the Whitney”, Hyperallergic, (August 28, 2018)
– Nadja Sayej, “We’re building a bridge’ – the exhibition shining a light on Latinx artists”, The Guardian, (July 16, 2018)
– Robin Pogrebin, “Museums Turn Their Focus to U.S. Artists of Latin Descent”, The New York Times, (April 24, 2018)
– Sharon Mizota, “Review: Nearly a century later, a video artist follows Frank Lloyd Wright’s Mayan footsteps”, Los Angeles Times, (Oct. 15, 2017)
– Christopher Hawthorne, “With Pacific Standard Time, Getty finally climbs down from hilltop oasis it built 20 years ago”, Los Angeles Times, (Oct. 19, 2017)
– Monica Westin, “Lives Bewteen”, Critick’s Picks , ARTFORUM (April 2017)
– Susan Dunne, “Wesleyan Exhibit Looks At Brazil, U.S. Cultural Overlap”, Hartford Courant (February 13, 2017)
– Ana Abril, “Exposição de Clarissa Tossin, nos EUA, apresenta a complexidade do mundo através do avizinhamento de opostos”, Select (30/01/2017)
– “Artist Portfolio: Clarissa Tossin”, Los Angeles Review of Books, Quarterly Journal (summer 2015)
– Edward Goldman, “Art that a) Amuses, b) Challenges, c) Leaves us in Disbelief”, KCRW Art Talk (June 30, 2015)
– Alexandra Grant, “Biennial at a Crossroads: SITE Santa Fe’s Reinvention”, X-tra Magazine, (Summer 2015)
– Neha Choksi, “Staging a Biennial”, X-tra Magazine, Vol. 17, Number 2 (Winter 2015)
– George Melrod, “Made in L.A.”, Art Ltd Magazine (July/August 2014)
– Abe Ahn, “Broadcasting Los Angeles”, Hyperallergic, (July 28, 2014)
– Paula Bittar, “A Casa que Niemeyer Criou”, Correio Braziliense, (July 24, 2014)
– Adele Oliveira,”SITE Santa Fe — Clarissa Tossin: Place holders”, Santa Fe-New Mexican Magazine (July 18, 2014)
– Anuradha Vikram, “The Politics of Rehearsal”, Daily Serving, (July 14, 2014)
– Roberta Smith, “If Seeing Is Believing, a Panorama of Truth”, The New York Times, (June 19, 2014)
– Mariola V. Alvarez, “Maintaining Cars, Pools & Other Modernities: Clarissa Tossin’s Brasília”, Gulf Coast, Vol. 26, Issue 2 (Spring 2014)
– Anjali Gupta, “This is Not An Institutional Critique: Artpace’s IAIR 13.2”, Current (July 24, 2013)
– Kelly Klaasmeyer, “Relentless Sun: The Images of Clarissa Tossin”, Houston Press (November 9)
– Pedro Hernández, “La Elipsis Arquitectónica”, Arquine (May 29, 2013)
– “Arquitectura más allá de la función, en el CCUT”, El Universal (February 26, 2013)
– Jeanne Claire van Ryzin, “When Art is Simply Art”, Austin American-Statesman (July 10): F1-F3
– Margherita Dessanay, “Viewing: Clarissa Tossin”, Elephant, issue 7 (Summer 2011): 24