Sandra Monterroso

La Venda y la Herida 4

TECHNIQUE Achiote, watercolor, ink and guarro paper
YEAR 2016

See more works by the artist



“Nostalgia and expectations feed the imaginary and forms, worn out or vanished, occupy the space of life: imperfection, propitiated by deviations, thus fulfilling in part its function”. – Greimas, 1987.

The idea of imperfection attracts me, to give place to that which, in the fissure, in the crack, in the frontier, makes sense. The nature as such is imperfect, provides us these deviant states. So, although something seems “unnatural” because it is “deviant”, “imperfect” is the result of the very nature of beings and therefore of things.

Baudelaire reminds us that “That which is not slightly deformed seems insensible, from which irregularity follows, that is, the unexpected, the surprise, the amazement are an essential part and the characteristic of beauty”.

On the other hand, the idea of distortion, we propose that it is not given, it is created by the human being, there is a cause and an effect. Gianni Vattimo, makes a strong criticism of the failure of modernity, especially in the period of enlightenment. Propose weak thinking as a possibility of weakening the categories of universal thought that has an absolute thought. The weak thought, for other thoughts, of other cultures that have remained invisible or little known or very much below an absolute thought and in the field of art, a very particular way of creating a work of art. The weakening of an absolute thought, allows the empowerment of other thoughts that manifest themselves from culture and spirituality to make them stronger. Weak thinking allows a series of possibilities to live, that is, from the past, from other histories, those that are not official but that have an almost imperceptible state, which is precisely what he tries to say with the work “The other historical line, heads or tails”. Vattimo proposes a relevant interpretation for the ethics of interpretation, and invites us to think: What kind of interpretations have we created and can we create?

Vattimo and Greimas suggest the idea of ”The lived thing” relating to the past, interpretations, discourses, which allows the idea of modernity not to be dead, but in a postmodern state full of possibilities. Where by itself, modernity cannot be denied, but it does address it in a critical way.

From the field of art, the same is the case, because in Latin America and in our territory, modernity was imposed. It would be worth thinking what modernity is what we are living?

In the watercolors, many lines, we see points, what perhaps Kandinsky cannot be left in his book “Point and line on the plane”, but these ideal elements of the modern practice of the distorted ones, providing us with fissures, wounds, grooves, borders. It is possible that the decolonial and colonial thought proposed by Quijano, Dussel, Mignolo and Zulma Palermo does not allow us another range of possibilities than other forms of transiting modernity, which is something unexpected that allows the possibility of pluriversality, of return. The valuation of life, of life, a way, then, to seriously address simple things.


Lives and works in Guatemala City.

PHD in practice candidate at the Academy of Arts Vienna 2013-2017



2017 – “Inchaq’na / Hermana Mayor,” Alianza Francesa, Guatemala; “Distorsiones e imperfecciones,” The 9.99 Gallery, Guatemala.

2014 – “Acciones para abolir el deseo,” The 9.99 Gallery, Guatemala.

2013 – “Efectos cruzados,” Museo de Arte Contemporáneo, El Salvador.

2011 – “Efectos cruzados,” Galería Piegatto (Arte La Fábrica), Guatemala.

2009 – “Meditando el error,” Galería de Artes Visuales, Universidad Rafael Landivar, Guatemala.

2008 – “Rakoc Atin,” Palacio de la Corte Suprema de Justicia, Guatemala.

2005 – “Sucesos Carcomidos,” Galería El Attico, Guatemala.

2004 – “Metabolismo,” Centro Cultural de España, Guatemala.

1999 – “Ave Fénix,” Vestíbulo BANCAFÉ, Guatemala.



2017 – “Decolonizing Nature,” 516 ARTS, Albuquerque, New Mexico; “Flores,” VBKÖ, Vienna, Austria; “Guatemala from 33,000 km: Contemporary Art from 1960-Present,” Museum of Contemporary Art Santa Barbara, California; Frestas: Trienal de Artes, SESC Sorocaba, Brazil; Salón Internacional de Arte Indígena Manuel Quintín Lame. Museo de Arte Contemporáneo de Bogotá and Museo Zenú de Arte Contemporáneo, Montería, Colombia.

2016 – “Overlap / Traslape,” The 9.99 Gallery, Guatemala;  “Uno como otro / Du som jag,” Museo de Arte Contemporáneo Havremagasinet, Suecia;  Anti Colonial Fantasies,” Exit, Academia de Arte de Viena, Austria.

2015 – “Casa blanca, casa nuestra,” Entre la Idea y la Experiencia, 12 Bienal de La Habana, Havana, Cuba; “Guatemala Después: Rethinking the Past, Reimagining the Now,” Arnold and Sheila Aronson Galleries, The New School, New York;  “Indigenous Voices,” Padiglione America Latina-IILA, 56 Biennale di Venezia, Venice, Italy; Recent Video from Latin America,” Harold M. William Auditorium, The Getty Center, Los Angeles; “5 RPM,” The 9.99 Gallery, Guatemala; “…pero no soy fotógrafo,” The 9.99 Gallery, Guatemala.

2014 – “Largo x Ancho x Alto,” The 9.99 Gallery, Guatemala; “Film Festival Cine Latino, “Frac Midi-Pyrénées, Toulouse, France; “How much engaged?” Fundação Calouste Gulbenkian, Lisbon, Portugal; 2da. Bienal de Montevideo, 500 Años de Futuro, Montevideo, Uruguay.

2013 – “Saber desconocer,” 43 Salón (inter) Nacional de Artistas, Museo de Antioquia, Medellin, Colombia. “In Art We Trust,” Sol del Río, Guatemala; “Videoakt III, Bienal Internacional de Videoarte”, Barcelona, Spain.

2012 – “GRID,” International Photography and Video Biennial, Amersfoort, the Netherlands; “GlobAll Mix por Felipe Taborda,” Galpão das Artes, Jardim Botânico, Rio de Janeiro, Brazil; XVIII Bienal de Arte Paiz, Guatemala.

2011 – “Mi cuerpo es un arma,” Bienal do Mercosul, Porto Alegre, Brazil.

2010 – “Miradas de Mujer,” Centro Cultural de España en México, Mexico; “Miradas transversales, políticas del cuerpo,” Ex Teresa Arte Actual, Mexico; XVII Bienal de Arte Paiz, Guatemala; “My Body is a Weapon,” Biennial of the Americas, Denver, Colorado.

2009 – “Art-Action Feministe: Panorama de la vidéo-performance féministe contemporaine latinoaméricaine”, Centre Georges Pompidou, Paris; “Performing Localities: Recent Guatemalan Performance Art on Video,” Institute of International Visual Arts, London; “Visionarios,” Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.

2008 – “No Es lo que Es. Arte Objeto,” Arte Centro, Guatemala’ “Visionário, Vídeo e Film Experimental,” Itaú Cultural, São Paulo, Brazil; XVI Bienal de Arte Paiz Guatemala, Guatemala.

2007 – “Encuentro de Arte Corporal,” Galería de Arte Nacional, Caracas, Venezuela; “Libertad,” Performance in situ; “Somática,” Centro Cultural Metropolitano, Guatemala; “Arte Nuevo InteractivA’07,” Bienal Internacional de la Nuevas Artes y Laboratorio Interdisciplinario, Merida, Mexico; RIAA – Residencia Internacional de Artistas en Argentina, Centro Cultural de España, Buenos Aires, Argentina.

2006 – “Inquieta Imagen / Centroamérica En Video,” Centro Fundación Telefónica del Perú, Lima, Peru; XV Bienal Paiz Guatemala, Guatemala; V Bienal del Istmo Centro Americano, Museo de Arte de El Salvador, El Salvador.

2005 – “Videografías invisibles: Una selección de video arte latinoamericano,” Museo Patio Herreriano de Arte Contemporáneo Español, Valladolid, Spain; “Registro III,” Galería Sol del Río, Guatemala; 1er Salón del grabado, Museo de Arte Moderno Carlos Mérida, Guatemala.

2004 – “Video arte centroamericano,” Centro de Arte Le plateu, Paris; Inquieta Imagen,” 3er Concurso Centroamericano de Videocreación, Museo de Arte y Diseño Contemporáneo, San Jose, Costa Rica; “Geografías Suaves,” Video Arte, Merida, Mexico.

2003 – “Instalación e Incertidumbre,” Galería de Arte Contemporáneo, Puebla, México; “De la cocina a la cama,” Octavo Salón Independiente de Arte Erótico, Galería de Arte Contemporáneo y Diseño, Puebla, Mexico.

2001 – “Suyo/ajeno, ajeno/suyo,” Ex Teresa Arte Actual, Mexico.



2012 – 2do lugar Juannio, Subasta de arte latinoamericano, Guatemala.

2011 – 3er lugar Juannio, Subasta de arte latinoamericano, Guatemala.

2008 – Mención Honorífica, XVI Bienal de Arte Paiz.

2006 – 1er Premio Glifo de Oro, XV Bienal de Arte Paiz, Guatemala; Mención Honorífica Juannio, Subasta de arte latinoamericano, Guatemala.

2005 – 1er Premio, Categoría Caña de Azúcar, 1er Salón Nacional de Grabado, Museo Nacional de Arte; Moderno Carlos Mérida, Guatemala.

2004 – 1er premio, Inquieta imagen, III concurso de video arte centroamericano, San Jose, Costa Rica.

1999 – Jóvenes Creadores BANCAFE, Bancafé, Guatemala.



2014 – RD Foundation Vienna; Research, Development, Human Rights; Fundación Guatefuturo, Guatemala

2010 – Young Researcher Grant, Valencia University, Valencia, Spain.

2007 – RIAA – Residencia Internacional de Artistas en Argentina, Centro Cultural de España, Buenos Aires, Argentina.

2000 – Peace and Development Studies, Universitat Jaume I, Castelló de la Plana, Spain.

1999 – Young creators. BANCAFE. Guatemala.



Colección Fundación Paiz para el arte y la cultura, Guatemala.

Colección University of Essex, Colchester, Inglaterra.

Colección Fundación YAXS, Guatemala.

Fundación Ortíz Gurdián, Managua, Nicaragua.

Museo de Arte Contemporáneo y Diseño de Costa Rica, San José, Costa Rica.

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