Tania Bruguera

UNNAMED, 2020. Installation view for the 22nd Biennale of Sydney (2020), Cockatoo Island., Originally commissioned by Monash University Museum of Art | MUMA for presentation at the 22nd Biennale of Sydney. Courtesy the artist and Milani Gallery, Brisbane. Image credit to Zan Wimberley.

10,148,415 (The Crying Room), Aichi Triennale 2019, Interactive Installation, Arte de Conducta, 1400 x 1400 x 300 cm

Monument to New Immigrants 2017, Welded steel armature and unfired clay sculpture. Piece was exposed to outside conditions and would deteriorate. It would be continually replaced for duration of exhibition., The project was realised in collaboration with the Pennsylvania Academy of Fine Arts, John Greig, Gary Pergolini, Britta Valles, and Alessandra Saviotti (Estudio Bruguera).

Video for School of Integration for Manchester International Festival 2019, Arte Util, Commissioned and produced by Manchester International Festival and Manchester Art Gallery. Video thumbnail credit to Michael Pollard.

Self-Sabotage 2009, Lecture/Performance, Variable, This piece is only shown as an installation, with no living component. Image courtesy of Estudio Bruguera.

Tatlin's Whisper #5 2008, Decontextualisation of an action, Unannounced Performance, Behaviour Art, Variable, Image courtesy of Estudio Bruguera

Untitled (Havana, 2000) 2000, Video performance and installation, 400 x 1200 x 5000 cm, Image courtesy of Estudio Bruguera.

Tatlin's Whisper #6 (Havana Version) 2009, Decontextualisation of an action, Behaviour Art, Variable, Image courtesy of Estudio Bruguera.

El peso de la culpa (The Burden of Guilt) 1997, Re-enactment of a historical event. Endurance performance with decapitated lamb, rope, water, salt, Cuban flag made out of human hair/fabric

Tribute To Ana Mendieta (Homenaje a Ana Mendieta) 1985, Long-term project of re-creation of Ana Mendieta's artworks, unrealised projects, lectures, exhibitions, interviews and texts., Centro de Desarollo de las Artes Visuales, Havana, 1992. © Gonzalo Vidal Alvarado.

Tania Bruguera (b. 1968, Cuba) is an artist and activist whose performances and installations examine political power structures and their effect on society's most vulnerable people. Her provocative works explore the ways in which art can be applied to everyday political life, tackling global issues of power, migration, censorship and repression in ways that turn “viewers” into “citizens”, seeking to transform social affect into political effectiveness. For Bruguera, art is a platform where new political potentials can be tested, performed and realised.

For over 25 years Bruguera has created proposals and aesthetic models for others to use and adapt, including a vocabulary better suited to defining politically-engaged art practice, especially her concepts Arte Útil (art as a tool) and Political Timing Specific art. Her long-term projects have been intensive interventions on the institutional structure of collective memory, education and politics, resulting in the realisation of projects such as Cátedra Arte de Conducta, Immigrant Movement International and Institute for Artivism Hannah Arendt (INSTAR). In this way Bruguera sees herself as an initiator rather than an author, often collaborating with multiple institutions and many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

Bruguera has been recognized as one of the 100 Leading Global Thinkers by Foreign Policy magazine and was part of the team creating the first document on artistic freedom and cultural rights with the United Nations Human Rights Council. She is on the board of Artists at Risk, Gulf Labour and European Alternative and was on the founding board of FIELD, an online journal focused on socially engaged art criticism.

Bruguera has received many honours, including the Robert Rauschenberg Award, a Prince Claus Fund Laureate, a Guggenheim Fellowship, the 1st Neuberger Prize, the Herb Alpert Award, the Meadows Prize, being shortlisted for the #Index100 Freedom of Expression Award and being a Hugo Boss Prize finalist. She is a Radcliffe and a Yale World Fellow and has been named a National Endowment for the Humanities/Hannah Arendt Center Distinguished Visiting Fellow.

Since the mid-1980s her work has been exhibited in numerous solo and group exhibitions as well as biennales and theater festivals around the world, including the Tate Turbine Hall Commission, Documenta 11, Venice Biennales (2001, 2005, 2009, 2015), Wiener Festwochen, Festival d’Automne à Paris and Performa. Her work is also included in the collection of the Guggenheim Museum, MoMA, the Van Abbemuseum, Tate Modern, Museum für Moderne Kunst and the Museo Nacional de Bellas Artes de La Habana.

She has extensive teaching experience, founded and directed the Cátedra Arte de Conducta (2003-09) in Havana, and been faculty at École Nationale Supérieure des Beaux-Arts (2009-15), Rijksakademie (2010-15), Universitá IUAV di Venezia (2006-08), University of Chicago (2006-10) and Instituto Superior de Arte (ISA) (1992-97) as well as Visiting Faculty/Artist at many universities including San Francisco Art Institute, the School of the Art Institute of Chicago, MIT and European Master in Migration and Intercultural Relations (EMMIR) among others.

She holds an M.F.A. in Performance from The School of the Art Institute of Chicago (SAIC), as well as degrees from the Instituto Superior de Arte and the Escuela de Artes Plásticas San Alejandro in Havana, Cuba. She has been awarded Doctor Honoris Causa at the Maryland Institute College of Art (MICA) and from her alma mater (SAIC).

Education

2011

Training for Community Organizing, Center for Third World Organizing (CTWO), Oakland, California, United States.

1999 - 2001

Political Training, Midwest Academy, Chicago, Illinois, United States.

1987 - 1992

MFA Performance, The School of the Art Institute of Chicago, Illinois.

1983 - 1987

Instituto Superior de Arte, Havana.

1980 - 1983

Escuela de Artes Plásticas San Alejandro, Havana.
Escuela Elemental de Artes Plásticas “20 de Octubre,” Havana.

Solo Exhibitions

2021

Let Truth Be, Though the World Perish, PAC Padiglione d’Arte Contemporanea, Milan, Italy.

2019

School of Integration, Manchester Art Gallery part of the Manchester International Festival, Manchester, England.

2018

Hyundai Commission: Tania Bruguera: 10,145,445. Turbine Hall at Tate Modern: Exhibition, part of the Turbine Hall commission series. Tate Museum. London, England.
Tania Bruguera: Untitled (Havana, 2000), MoMA (Museum of Modern Art), New York, United States.

2017

Tania Bruguera:Talking to Power/Hablandole al Poder, Yerba Buena Center for the Arts, traveling exhibition. San Francisco, United States.

2016

Referendum, Union Square, New York, United States.

2015

Opening Session (100 hours of uninterrupted collective reading and discussion of ‘The Origins of Totalitarianism’. ) International Institute of Artivism ‘Hannah Arendt’. Havana, Cuba.
#YoTambienExijo. Havana, Cuba. Curated by Tania Bruguera and Deborah Bruguera in collaboration with the online platform #YoTambienExijo.

2013

Asociación de Arte Útil , Immigrant Movement International
Museum of Arte Útil (Useful Art), Van Abbemuseum, Eindhoven, Netherlands.
Arte Útil Lab, Queens Museum of Art, New York, United States.

2012

Tania Bruguera: Immigrant Movement International. The Tanks at Tate Modern: Exhibition, part of the series The Tanks: Art in Action. Tate Museum. London, England.
Tania Bruguera: Partido del Pueblo Migrante. Sala de Arte Público Siqueiros. México City, México.

2011

Immigrant Movement International. Presented by Queens Museum of Art and Creative Time. New York, United States.

2010

Huelga General. DOMINÓ CANIBAL / PAC MURCIA 2010. Sala Verónicas. Murcia, Spain.
IP Détournement. VOIR / REVOIR. Centre d’Art Pompidou. Paris, France.
Capitalisme Générique. Frac Île-de-France. L’Antenne. Paris, France.
Poetic Justice. Giorno per Giorno, un mese di arte contemporanea in Piemonte. Fondazione per l’Arte Moderna e Contemporanea CRT. CeSAC. Filatoio di Caraglio. Piemonte, Italy.
Touched by discipline. Corpus, Art in Action. Festival Performance Art. Madre Museum. Naples, Italy.
The promise of politics. XXXI Pontevedra Biennial. Fundación Rosón de Arte Contemporáneo. Pontevedra, Spain.
Φρουησις (Phronesis). Galería Juana de Aizpuru. Madrid, Spain.
Plusvalía, Project Rooms, 29 Feria Internacional de Arte Contemporáneo, ARCO. Madrid, Spain.
On the political imaginary (Survey Show). Neuberger Museum of Art, Purchase College, State University of New York. Purchase, New York, United States.

2009

Just a question (version for Lebanon). Beirut Art Center. Beirut, Lebanon.
Civilian Training. Franco Soffiantino Arte Contemporanea Gallery. Turín, Italy.
I’ll give you just enough to keep you from dying - Study for Endgame. Meteorite in Giardino, Fondazione Merz. Torino, Italy.
Tatlin’s Whisper #6 (version for Havana) -Integración y resistencia en la era global-, Décima Bienal de la Habana. Centro de Arte Contemporáneo Wifredo Lam.
Havana, Cuba
Estado de Excepción. Arte de Conducta, Décima Bienal de la Habana, Galería Habana. Havana, Cuba.

2008

Object of desire (selling Cuba), Le Plateau, Frac Île-de-France. Paris, France.
Constellation - project rooms - , Artissima Art Fair. Torino, Italy.

2007

Delayed Patriotism, Bronx Museum for Performa 07, New York, United States.
Giordano Bruno’s process - for a patron saint of political memory-, Museo Laboratorio de Arte Contemporaneo, La Sapienza Universita di Roma, Instituto Italo latinomericano. Rome, Italy.

2006

For sale, Juana de Aizpuru Gallery. Madrid, Spain.
Maintenant, ici, là-bas, Frac Loraine. Metz, France.
Tatlin’s whisper, Kunsthalle Zu Kiel. Kiel, Germany.
Portraits, Kunsthalle Wien, Vienna, Austria.
Beckett... have you ever seen my eyes?, Rhona Hoffmann Gallery, Chicago, Illinois, United States.

2005

Boca a boca, Galería Habana. Havana, Cuba.
Caída Libre, Subcity Projects. Chicago, Illinois, United States.

2004

Dated Flesh, Rhona Hoffman Gallery. Chicago, Illinois, United States.

2003

Esercizio di resistenza, Franco Soffiantino Arte Contemporanea Gallery. Turín, Italy.
Autobiografía. Museo Nacional de Bellas Artes. Havana, Cuba.
Molino Cubano. Watermill Foundation. Water Mill, New York.

2002

Ingeniero de almas, Palacio de Abrantes. Salamanca, Spain.
Tania Bruguera–Ghada Amer, San Francisco Art Institute. San Francisco, California, United States.

2001

La isla en peso, Casa de las Américas, Havana, Cuba. Liebman Magnan Gallery. New York, United States.

1999

Recent work, Vera van Laer Gallery. Antwerp, Belgium.
Lo que me corresponde (traveling exhibition) Colloquia-proyecto para el arte contemporáneo. Guatemala City, Guatemala, Iturralde Gallery, Los Angeles, California, United States.

1997

El peso de la culpa, Tejadillo 214. Havana, Cuba.

1996

Cabeza abajo, Espacio Aglutinador. Havana, Cuba.
Lágrimas de tránsito, Centro de Arte Contemporáneo Wifredo Lam. Havana, Cuba.

1995

Lo que me corresponde, The Artist’s House. Havana, Cuba.
Soñando, Gaswork Studios Gallery. London, England.

1993

Memoria de la postguerra, Galería Plaza Vieja, Fondo Cubano de Bienes Culturales. Havana, Cuba.

1992

Ana Mendieta, Centro de Desarrollo de las Artes Visuales. Havana, Cuba.

1986

Marilyn is alive, Galería Leopoldo Romañach, Academia de San Alejandro. Havana, Cuba.

Selected Group Exhibition

2022

documenta15, Kassel, Germany (upcoming)

2021

Tree Story, Monash University Museum of Art, Melbourne, Australia

2020

22nd Biennale of Sydney: NIRIN, Sydney, Australia

2019

When Home Won’t Let You Stay: Migration Through Contemporary Art. The Institute of Contemporary Art, Boston, Chicago, United States.
Aichi Triennial 2019: Taming Y/Our Passion, Aichi, Nagoya, Japan.
The Warmth of Other Suns. The Phillips Collection, Washington DC, United States.
Landlord Colors: On Art, Economy, and Materiality, Cranbrook Art Museum, Bloomfield Hills, Michigan, United States.
It’s Urgent. In collaboration with Heartland Festival. Copenhagen, Denmark.
Narciso, In co-production with BoCA, Galerias Municipais EGEAC. Biennial of Contemporary Arts, Lisbon, Portugal.
Art Stands with Refugees. Art Basel, Basel, Switzerland.
School of Integration. In collaboration with Atlas of Transitions. DAMSLab, Bologna, Italy.

2018

No MUOS. In collaboration with No MUOS. Manifest 12: Palermo, European Nomadic Biennial. Palermo, Italy.
‘Declaration’. Institute of Contemporary Art, Virginia Commonwealth University, Richmond, Virginia, United States.
Sembrando Respeto. 21 Bienal de Arte Paiz .Fundación Paiz para la Educación y la Cultura, traveling exhibition. Guatemala City,Guatemala.

2017

The Francis Effect. Installation of digital screens across the Underground for the #LondonIsOpen campaign.
Person of the Crowd: The Contemporary Art of Flânerie. the Barnes Foundation, Philadelphia, United States.
Speak: Tania Bruguera, Douglas Gordon, Laure Prouvost and Cally Spooner. Serpentine Gallery, London, United Kingdom.
Adiós Utopia: Dreams and Deceptions in Cuban Art Since 1950. Museum of Fine Arts, Houston, and Walker Art Center, Minneapolis, United States.
In Acts. Weinberg/Newton Gallery, Chicago, United States.
Endgame. Biennial of Contemporary Arts, Lisbon and Oporto, Portugal.
Endgame. Kunstenfestivaldesarts, Brussels, Belgium.
Endgame. Kampnagel, Hamburg, Germany.
Endgame. Festival d’Automne, Nanterre-Amandier, France.
The Restless Earth. La Triennale di Milano, Italy.
Space Force Construction. V-A-C Foundation, Venice, Italy.
CycleNews. A collaboration between Tania Bruguera, Mujeres en Movimiento with NYC Cultural Affairs Commissioner Tom Kinkelpearl and Immigrant Affairs Commissioner Nisha Agarwal. New York, United States.
Action! Art lives from participation. Kunsthaus Zürich, Switzerland. Curated by Mirjam Varadinis.
Tatlin’s Whisper #6 (Version for Greece). Stavros Niarchos Foundation Cultural Center, Athens, Greece.
Pledges of Allegiance. Creative Time, New York.
CampoSud. A Visionary Camp. Galleria Comunale d’Arte di Cagliari, Italy.
Monument Lab. Mural Arts Philadelphia, United States.
Relational Undercurrents: Contemporary Art of the Caribbean Archipelago. Museum of Latin American Art, Long Beach, United States.
Propositions #1: What We Mean. BAK, Utrecht, The Netherlands.
Greuningen, Wietske Maas, and Whitney Stark.
Collection Collective. Template for a Future Model of Representation, tranzit/sk, Bratislava, Slovakia.
Restaging of Tatlin’s Whisper #5. Tate Modern, London.

2016

Opening Session of the foundational process of INSTAR - Instituto de Artivismo Hannah Arendt (May 20 - May 24, 2015)
In the Belly of the Whale. Witte de With Center for Contemporary Art, Witte de Withstraat 50. Rotterdam, The Netherlands.
Yoko Ono, Dream Come True. “Evento Agua” Museo de Arte Latinoamericana de Buenos Aires, Argentina.
Under the Same Sun. “Tatlin’s Whisper #6 (Havana version). Video. South London Gallery, London, United Kingdom.
The Francis Effect (poster), #LondonIsOpen The Mayor of London’s campaign with London Underground. London, United Kingdom.
La Mano Inmigrante (with Mujeres en Movimiento). Corona, Queens, New York, USA.
Cuba, Tatuare la storia. “Letter-piece: The Effort to Normalize Censorship in Cuba” PAC: Padiglione d’Arte Contemporanea, Milan, Italy.
The agony and the Ecstasy: Latin American art in the collections of Mallorca; a review based on contemporaneity, “Untitled” (drawing), Es Baluard, Museu d’art modern i contemporani di Palma,Spain.
Caleidoscopio y rompecabezas. Latinoamérica en la colección MUSAC. “Desengaño - Explicación Visual (2010)”. CAAM (Centro Atlántico de Arte Moderno), Las Palmas, Spain.
Hero Mother: Contemporary Art by Post-Communist Women, Rethinking heroism. “Migrant Manifesto”. Studio 1& MOMENTUM Gallery, Kunstquartier Bethanien, Mariannenplatz 2. Berlin, Germany.
Alrededor de una pasión, Dialogue between a collector and curator. Colección Fundación Rac. Centro Huarte. Navarra, Spain.

2015

Migrant Parade. Nuit Blanche. Toronto, Canada.
The 56th International Art Exhibition,“Untitled (Havana, 2000),” La Biennale di Venezia, Venice, Italy. Curated by Okwui Enwezor. BP.15,
“Yo Tambien Exijo,” First Argentine Performance Biennale, Buenos Aires, Argentina.
Why artivism? Transnational reading marathon: MAXXI, Rome; Rivington Place, London; FRAC Ile de France/Plateau, Paris; CZKD, Belgrade; Labirynt Gallery, Lublin, Transeuropa Festival, Belgrade, Serbia.
Lecciones de Historia. Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria, Spain.
Public Works: Artists’ Interventions 1970-Now, Mills College Art Museum, California, United States.
En y entre geografías. Museo de Arte Moderno de Medellín (MAMM), Medellín, Antioquia, Colombia.
Beyond Fragments. Transeuropa Festival, Belgrade, Serbia.
Iconocracia. Basque Museum of Contemporary Art (ARTIUM), Vitoria-Gasteiz, Spain.
Migrant Parade. Nuit Blanche. Toronto, Canada.
Cuba – Ficción y Fantasía, Casa Daros, Rio de Janeiro, Brasil.
Displacement, The 22nd Annual Watermill Center Summer Benet & Auction, The Watermill Center. New York.
Ritual Body - Political Body, Venice International Performance Art Week, Palazzo Mora, Venice, Italy.

2014

Citizen culture: Artists and architects shape policy, Santa Monica Museum of Art (SMOA). Santa Monica, California, United States. Curated by Lucia Sanroman.
MONTE DE ESTÉPAR. Exposición en apoyo de las víctimas del franquismo. Reivindicando la memoria de sus luchas, Espacio Tangente, Burgos, España.
Slow Future, Centre for Contemporary Art Ujazdowski Castle. Warsaw, Poland. Curated by Jota Castro.
Under the Same Sun, Solomon R. Guggenheim Museum. New York, United States. Curated by Pablo León de la Barra.
Why not walk backward? Reenactment, Gertrude Contemporary. Melbourne, Australia. Curated by Brooke Babington and Liang Luscombe.
Brujas pero tambien brujos, Espacio Aglutinador. Havana, Cuba. Curated by Sandra Ceballos.
La Granja, Partido del Pueblo Migrante. Galeria OMR. Mexico D.F., Mexico

2013

Elles: Mulheres Artistas na Coleção do Centro Pompidou, Itinerant exhibition. Centro Cultural Banco do Brasil in Rio de Janeiro; Cultural Centro Banco do Brasil in Belo Horizonte.
Persona Ficta, Hessel Museum of Art, Center for Curatorial Studies Hessel Museum of Art, Bard College, Annandale-on-Hudson.
Come In, We’re Open, Los Angeles City College gallery (LACC) and Cypress College. East Hollywood, Los Angeles and Cypress, California, United States.
Immigrant Respect Campaign, Immigrant Movement International, Donaufestival. Kunsthalle Krems Stein Museum, Forum Frohner. Krems, Austria.
Superreal: alternative realities in photography and video. Museo del Barrio, Las Galerías,. New York, United States.
La Goutte d’Or, terre d’accueil en Europe-Promenade transnationale. Transeuropa Festival. Paris, France.

2012

Experimentica 2012: UNSEEN, “Artes Mundi 1X1X1: One Artist, One Day, One Film,” Chapter Gallery, Cardiff, United Kingdom.
Artes Mundi 5 exhibition, “Tatlin’s Whisper #5”, National Museum Wales, Cardiff, United Kingdom.
Enacting Populism in its meadiaescape, Kadist Art Foundation, Paris, France.
VIVA | Performance Lab, MAXXI National Museum of Contemporary Art and University of Calabria, Municipality of Cosenza, Calabria, Italy.
The Far and The Near: St Ives and International Art, The Apse, Tate St Ives, St Ives, Cornwall, United Kingdom.
Schlagwörter und Sprachgewalten. Wie in der Sprache Macht und Identität verhandelt werden. Autobiography (inside Cuba), Kunsthaus Baselland. Switzerland.
VALOARTE, Humanitarian Auction. MAC, Costa Rican Art Museum. San José, Costa Rica.
To the Unknow Migrant. Novella Gallery. New York, United States.
Herejes del Vacio. Galería Habana. Havana, Cuba.
Move: Choreographing you. “Untitled (Kassel, 2002)”. National Museum of Contemporary Art. Seoul, Korea.
Revolution not televised. The Bronx Museum of the Arts. Bronx, New York, United States.

2011

Crisiss. América Latina. Arte y Confrontación. 1910-2010. Itinerant exhibition 2011 - 2012. Museo del Palacio de Bellas Artes; Museo arte del Banco de la República / Museo de Arte Moderno de Medellín; Museo Arocena.
You whistle - and ask, am I alone in here?, Appel Arts Centre, Amsterdam, Netherlands.
The 29th Biennial of Graphic Arts: VIOLENCE. The Cankarjev dom Culture and Congress Centre, Ljubjlana, Slovenia.
Miroslaw Balka + Tania Bruguera. Galería Juana de Aizpuru, Madrid, Spain.
Immigrant Movement International: An Event by Tania Bruguera. Foreclosed. Between Crisis and Possibility. The Kitchen, Helena Rubinstein, Curatorial Fellows of the Whitney Museum of American Art Independent Study Program.
Playing the City 3 [Speech]. Frankfurt, Germany.
Terrible Beauty – Art, Crisis, Change and The Office of Non-Compliance. Dublin Contemporary 2011, Ireland’s International Exhibition, Dublin, Ireland.
Performing Idea I: Archive. Whitechapel Gallery, Reading Room. Organized by Performance Matters, a collaboration between the Live Art Development Agency, Goldsmiths, University of London, and Roehampton University, London, United Kingdom.

2010

Utopia of Exotic. Austrian Cultural Forum. Bucharest, Romania.
Gene Siskel Film Center. Chicago, Illinois, United States.
Model kits. Museo de Arte Contemporáneo de Castilla y León (MUSAC). León, Spain.
P.S.1., 100 Years. PS1 Contemporary Art Center and Performa. Queens, New York, United States.
Move: Choreographing you. Hayward Gallery, Southbank Centre. London, United Kingdom.
Re-Inventions Allan Kaprow . Touched, the International 10 exhibition as part of Liverpool Biennial 2010. Liverpool, United Kingdom.
Archiv-acción. XXXI Pontevedra Biennial. Museo de Pontevedra. Pontevedra, Spain.
Early Years. KW Institute for Contemporary Art. Berlin, Germany. Presented by the Museum of Modern Art in Warsaw.
IT IS IT. Espacio 1414. San Juan, Puerto Rico.
Per Diem, Catedra Arte de Conducta. BETONSALON. Paris, France.
CELLA - Strutture di emarginazione e disciplinamento. Ex casa di correzione di Carlo Fontana. Rome, Italy.

2009

Democratics Art, ATTI DEMOCRATICI. Bolzano, Italy. Curated by Angelika Burtscher and Daniele Lupo.
Cooperativa Internacional Tropical, La Otra Contemporary Art Fair. Bogotá, Colombia.
3rd. RIWAQ Biennale 2009, A Geography: 50 Villages. Palestine. Curated by Charles Esche.
Revolutions in Public Practice”, Creative Time Summit, New York Public Library. New York, United States.
Encuentro 2009: Staging Citizen: Cultural Rights in the Americas. Universidad Nacional de Colombia and Hemispheric Institute. Bogotá, Colombia.
The Fear Society, Pabellón de la Urgencia, 53rd Venezia Biennale. Venice, Italy. Curated by Jota Castro.
intas Fellowship exhibition. Patricia & Phillip Frost Art Museum. Miami, United States.
In transit 2009. Haus der Kulturen der Welt. Berlin, Germany.
Our Literal Speed (OLS) - events in the vicinity of Art and History. Merchandise Mart. Chicago, Illinois, United States.
Americas Latinas. Las fatigas del querer. Spazio Oberdan. Milan, Italy.
Arte es Acción. Festival de Performance, Teatro Valle Inclán. Madrid, Spain.
Bside1self. Ecole Nationale Supérieure des Beaux-Arts (ENSBA). Paris, France.
Autosabotaje. Modèle à construire: La culture comme stratégie de survie, Galerie Nationale du Jeu de Paume. Paris, France.
Performance Saga Festival. Laussane, Switzerland.
Re.act.feminism: Performance Art of the 1960’s & 70’s today. Akademie der Künste. Berlin, Germany.
Prisioner’s Dilemma. Cisneros Fontanals Art Foundation CIFO. Miami, Florida, United States.
Reflections. Rhona Hoffman Gallery. Chicago, Illinois, United States.
7 + 1 Project Rooms. Museo de Arte Contemporáneo MARCO. Vigo, Spain.

2008

Inauguration du Centquatre, Centquatre Etablissement artistique de la Ville de Paris. Paris, France.
7th Gwangju Biennale. Gwangju, South Korea.
La Foule: Zero>Infini Chapitre 2 (Controle - Chaos). Espace D’Art Contemporain La Tolerie. Clermont-Ferrand, France.
1968-1989, Muzeum Sztuki Nowoczesnej. Warsaw, Poland.
Triennial Prologue 2: Exiles, Tate Britain. London, United Kingdom.
NeoHooDoo, Menil Collection, Houston; PS1/MOMA. New York, United States.
In transit, Haus der Kulturen der Welt. Berlin, Germany.
VI Encuentro Internacional de Performance, Instituto Valenciano de Arte Moderno IVAM. Valencia, Spain.
Our Literal Speed., ZKM. Karlsruhe, Germany.
Eloquent Papers. Gallery Paul Kusseneers. Brussels, Belgium.
Arte no es Vida: Actions by artists of the Americas, 1960-2000. El Museo del Barrio. New York, United States.
Live living currency. Tate Modern. London, England.
Person of the Crowd. Neuberger Museum of Art, State University of New York. Purchase. New York, United States.
Cuba. Art and history from 1868 to today. The Montreal Museum of Fine Arts. Montreal, Canada.
No es neutral, Tabakalera. Spain.
Rethinking dissent. 4th Göteborg Internationella Konstbiennial for Contemporary Art. Göteborg, Sweden.

2007

We are your future. 2nd Moscow Biennial, Moscow, Russia.
Global feminism. The Brooklyn Museum. New York, United States.
I like politique and politique likes me. Montévidéo, Marseille.
Sublime Embrace - experiencing consciousness in contemoprary art-. Art Gallery of Hamilton, Hamilton, Canada.

2006

Waiting list: time and transition in Cuban Contemporary Art. City Art Museum Ljubljana, Ljubljana, Slovenia.
Biennale cuvée, O.K. Centrum für Gegenwartskunst, Linz, Austria.
Estrecho Dudoso. Museo de Arte and Diseño Contemporáneo / Teorética, San José, Costa Rica.
Table of free voice. Berlin, Germany.
Un nuevo y bravo mundo. Consejería de Cultura y Deportes de la Comunidad de Madrid, Madrid, Spain.
En las fronteras. Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, Spain.
Not I: A Samuel Beckett Centenary Celebration, MCA Chicago, Chicago, Illinois, United States.
The hours - Visual Arts in Contemporary Latin America. Irish Museum of Modern Art, Dublin, Ireland.
The experience of art. International Art Exhibition, Padiglione, Italy. 51st Biennale di Venezia, Venice, Italy.

2005

Editions for Venice Biennial, Edition Schellmann, Munich.
3rd Tirana Biennial, Tirana, Albania.
Old News, Los Angeles Contemporary Exhibitions, Los Angeles, California.
Revolution is on Hold. Centro per l’Arte Isola, Milán/ L’Accademia Carrara di Belle Arti di Bergamo, Italy.
Art Projects. Art Basel, Miami, Florida, United States.
Produciendo Realidad, Lucca, Milan, Italy.

2004

Techniques of the Visible. Shanghai Biennal, Shanghai, China.
Island Nations. RISD Museum, Rhode Island, United States.
The Royal, royal trip. PS1, New York/Palacio del Patio Herreriano, Valladollid, Spain.

2003

Poetic Justice. 8th Istanbul Biennal, Istanbul, Turkey. Curated by Dan Cameron.
The living museum. Museum für Modern Kunst, Frankfurt, Germany.
Fusion Cuisine. Deste Foundation, Athens, Greece.

2002

Extreme Existance. Pratt Institute. New York, United States.
Documenta 11, Kassel, Germany. Curated by Okwui Enwezor.
The Stone and Water. Helsinki Art Museum, Helsinki, Finland.
No place. IFA Gallery, Bonn, Germany.
III Bienal de Lima. Lima, Perú.
F.A.I.R, The Royal College, London, United Kingdom.
A little bit of history repeated. Kunst Werte, Berlin, Germany.
Mercancías. Espacio C, Cantabria, Spain.

2001

Span 2, International Performance Arts Residency Project. London United Kingdom.
The Plateau of Humankind. International Art Exhibition, Arsenale, 49th Biennale di Venezia, Venice, Italy.
Do you have time?, Liebman Magnan Gallery, New York, United States.
Project Room, Algunas Islas. ARCO, Recinto Ferial Juan Carlos I, Madrid, Spain.
Uno más cerca del otro. VII Bienal Havana, Fortaleza de San Carlos de la Cabaña, Galería de Contraminas de San Ambrosio, Havana, Cuba.

2000

Arte all Arte, 5th edition, Fortezza di Poggio Imperiale, Arte Continua, Poggibonsi, Tuscany, Italy.
Exótica Incógnita. 3rd Kwangju Biennal, Kwangju, Korea.
Cutting Edge. ARCO, Recinto Ferial Juan Carlos, Madrid, Spain.

1999

Videodrome. The New Museum of Contemporary Art, New York.
Utopia/Distopia, 8a. Muestra Internacional de Performance, Mexico City, Mexico.
Looking for a Place. III International Biennial, SITE Santa Fe, New Mexico, United States.
Happening. Stedelijk Museum voor Actuele Kunst, Gent, Belgium.
Cuba-Maps of desire. Kunsthalle Wien, Austria.

1998

Art in Freedom. Boymans van Beuningen Museum, Rotterdam, The Netherlands.
The Garden of Forking Paths. (Traveling exhibition, 1998-1999) Helsinski City Art Museum, Helsinski; Kunstforeningen, Copenhagen, Denmark; EdsuikKunst & Kultur, Stockholm, Sweden.
II Salón de Arte Contemporáneo. Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba.
La dirección de la mirada. Stadhaus, Zürich, Musée de Beaux Arts, La Chaux-des-Fonds, Switzerland.
Obsesiones. Centro de Arte Contemporáneo Wifredo Lam, Havana, Cuba.
De discretas autorías. Cuba and Venezuela: Nuevas poéticas, MAC Mario Abreu, Maracaibo,Venezuela.
Fragmentos a su imán. Galería Latinoamericana, Casa de las Américas, Havana, Cuba.
III Bienal Barro de América. Museo de Bellas Artes, Caracas, Venezuela.
Desde el cuerpo: Alegorías de lo femenino, Museo de Bellas Artes, Caracas, Venezuela.

1997

Trade Routes. 2nd Johannesburg Biennale, The Electric Workshop, Johannesburg, South Africa.
Troisiéme Manifestation International video et art electronique de Champs Libres, Montréal.
1990’s Art from Cuba (Traveling exhibition 1997-1999) Betty Rymer Gallery, The School of the Art Institute.
Trabajo por cuenta propia. Facultad de Artes and Letras, Universidad de Havana, Havana, Cuba.
New Art from Cuba: Utopic Territories. Morris and Helen Belkin Art Gallery, Vancouver, Canada.
Las mieles del silencio. Galería Latinoamericana, Casa de las Américas, Havana, Cuba.
El ocultamiento de las almas. Centro de Desarrollo de las  Artes Visuales, Havana, Cuba. Curated by Omar Pascual.

1996

23rd Sao Paolo International Biennial, Parque do Ibirapuera, Sao Paolo, Brazil.
The visible and the invisible –representing the body in contemporary art and society. St. Pancras Church, Institute of International Visual Art, London, England.
La carne. Espacio Aglutinador, Havana, Cuba.
EI Salón Internacional de Estandartes, Centro Cultural Tijuana, Tijuana, Mexico / Museo X Teresa, Mexico City, Mexico.
Otras Escri(p)turas. Centro Provincial de Artes Plásticas and Diseño, Havana, Cuba.

1995

1st Contemporary Art Competition. Museo Nacional de Bellas Artes, Havana, Cuba.
ART/OMI International Workshop. Hudson, New York, United States.
II Bienal del Barro. Centro de Arte Contemporáneo Lía Bermudez, Maracaibo.
Cuba: La Isla Posible. Centro di Cultura Contemporania, Barcelona, Spain.
New Art from Cuba. Whitechapel Art Gallery, London, Reino Unido. Tullie House Museum and Art Gallery, Carlisle, Cambridge, United Kingdom.
Las formas de la tierra. Galería Buades, Madrid, Spain.

1994

La otra orilla,V Bienal de la Habana, Castillo de los Tres Reyes del Morro, Havana, Cuba.
Una brecha entre el cielo and la tierra. Centro Provincial de Artes Plásticas y Diseño, Havana, Cuba.
Utopía. Galería Espada, Casa del Joven Creador, Havana, Cuba.
Salón de la Ciudad ‘94. Centro Provincial de Artes Plásticas and Diseño, Havana, Cuba.

1993

XI International Drawing Biennial. Middlesbrough Fine Arts Museum, Cleveland, United Kingdom.
La nube en pantalones. Museo Nacional de Bellas Artes, Havana, Cuba.

1992

Dibujo no te olvido. Centro de Desarrollo de las Artes Visuales, Havana, Cuba.

1989

2nd International Poster Biennial. Museo José Luis Cuevas. Mexico City, Mexico.
Fotografía manipulada. Workshop’s exhibition, Fototeca de Cuba, Havana, Cuba.

1988

Es sólo lo que ves (arte abstracto). Havana, Cuba.

1987

No por mucho madrugar amanece más temprano. Fototeca de Cuba, Havana, Cuba.

1986

I Festival de la Creación y la investigación. Instituto Superior de Arte, Havana, Cuba.
Proteo, Galería Leopoldo Romañach, Academia de Artes Plásticas ‘San Alejandro,’ Havana, Cuba.

Prizes, Grants and Fellowships

2017

Radcliffe Institute Fellows, Harvard University, Massachusetts, United States

2016 - 2017

NEH/HAC Fellow. National Endowment for the Humanities. Hannah Arendt Center, Bard College. New York, United States.

2015

Maurice R. Greenberg World Fellows Program, Yale, Connecticut, United States.

2013

Meadows Prize. Meadows School of Art and The Meadows Foundation. Texas, United States.

2012

Honorary Committee. 40 Years of Latino Arts & Culture. El Museo del Barrio. New York, United States.
Derek Williams Trust Purchase Award. Amgueddfa Cymru — National Museum Wales, Contemporary Art Collection. Wales, United Kingdom.
Artes Mundi Finalist. National Museum of Art. Wales, United Kingdom.

2011

Mid-Career Artist CIFO Grant. Cisneros Fontanals Art Foundation. Florida, United States.
Best Show in a University Gallery in 2010: “Tania Bruguera: On the Political Imaginary.” AICA Awards. New York , United States.
The Bronx Museum of the Art’s recognition. The Bronx Museum of the Arts. New York, United States.

2010

Biennial Competition Award. The Louis Comfort Tiffany Foundation. New York, United States.

2009

Ordway Prize Finalist . Creative Link for the Arts / The New Museum. New York, United States.
1st Neuberger Prize. Neuberger Museum. New York, United States.

2008

Prince Claus Award. Prince Claus Fund. Rotterdam, The Netherlands.

2007

European Commission for Descentralized Cooperation. European Union.

2005

Fundación Amistad Travel Grant Support. Fundación Amistad. New York, United States.

2002 - 2004

Cuban Arts Fund Grant. Cuban Arts Fund. New York, United States.

2001

MFA Graduate Fellowship, The School of the Art Institute of Chicago. Illinois, United States.
Odyssey Travel Grant. The School of the Art Institute of Chicago. Chicago. Illinois, Chicago.

2000

Prince Claus Grant. Prince Claus Fund. Rotterdam, The Netherlands.

1999

Merit Scholarship. The School of The Art Institute of Chicago. Illinois, United States.

1998

Fellowship. The John Simon Guggenheim Memorial Foundation. New York, United States.

Advisory

2019 -

Advisory Committee, Artists at Risk Connection, New York City, United States.

2013 -

Advisory Board, Europe Alternatives, Berlin, Germany.

2012

Cultural Expert, Palais des Nations, seat of the United Nations Organisation.

Public Collections

Amgueddfa Cymru — National Museum of Wales, Contemporary Art Collection. Cardiff, United Kingdom.
ART/OMI, Hudson. New York, United States.
Berezdivin Collection. San Juan, Porto Rico.
The Bronx Museum of the Arts. New York, United States.
Centro de Arte Contemporáneo Wifredo Lam. Havana, Cuba.
Colección Barro de América. Maracaibo, Venezuela.
Collezione La Gaia. Turin, Italy.
Contemporary Art Museum of Istanbul. Istanbul, Turkey.
Daros Foundation. Zurich, Switzerland.
JP Morgan Chase Bank. New York, United States.
Instituto Valenciano de Arte Moderno IVAM. Valencia, Spain.
MMK (Museum für Modern Kunst). Frankfurt, Germany.
MNBA (Museo Nacional de Bellas Artes). Havana, Cuba.
MOLAA (Museum of Latin American Art). California, United States.
MoMA (Museum of Modern Art). New York, United States.
MUDAM (Grand Duke Jean Museum of Modern Art ). Luxembourg City, Luxembourg.
Musèe National d’Art Moderne. Centre Pompidou. Paris, France.
Museo del Barrio. New York, United States.
Museum of Modern Art, Artist book collection. New York, United States.
Pérez Art Museum. Miami, Florida, United States.
Salomon R. Guggenheim Museum. New York, United States.
Seattle Museum of Art. Washington, United States.
Tate Collection. London, United Kingdom.
The New Museum for Latin American Art. Essex, United Kingdom.
The Monsoon Art Collection. London, United Kingdom.
The Museum of Fine Arts. Houston, United States.

Selected Bibliography

Arratia, Eurídice. “Cityscape Havana,” Flash Art, Vol. XXXII, No. 204, Jan-Feb, 1999, p. 48.
“Arte de Conducta,” Arteamérica Debates, Delivered at Sala Manuel Galich, Casa de las Américas, March 24, 2003, Havana, Cuba. Ed. Arteamérica (illust.)
“Autocensura Programada,” Trabajo Socialmente Util, October 2008, Ed. MARCO -Museo de Arte Contemporáneo de Vigo-, Vigo, España, 2008, (illust.) p.74.
“Autocensura Programada”, Exit Express -Exit Express -periódico mensual de información y debate sobre arte-, no. 26, March 2007., Ed. Olivares & Asociados, Madrid, Spain, 2007, (illust.) p. 10.
Bespangled. “A Contract of Moral Commitment to Promote Immigrant Rights,” Hyperallergic Labs Blog, Going Off Script. August 2011.
Bishop, Claire and Coco Fusco. “Public Address,” Artforum, October 2009, pp. 38 - 40.
Bishop, Claire.“Speech Disorder: Claire Bishop on Tania Bruguera at the 10th Havana Biennial”, Artforum, Summer 2009 (illust.) pp. 121 - 122.
Bourland, Ian. “PICKS; Critic’s Picks: Tania Bruguera.” Artforum International Magazine, New York, United States (illust.) 2010.
Cadelo, Claudia “Un minuto de libertad por persona,” Octavio Cerco, March 30, 2009.
Camhi, Leslie. “Verse into video. The Village Voice,” Vol. XLVI, no. 43, October 30, 2001.
Camnitzer, Luis. “Books Review: Memoria de la Postguerra, Cuba, 1994,” Art Nexus. Issue #15, Feb-Apr, 1995. p. 30.
Carlozo, Lou. “Cuban performance artist on a mission of cultural healing,” The Chicago Tribune, March 20, 1997 (illust.) p. 2 p. 4.
Cassel, Valerie. “1990’s Art from Cuba,” Texts various authors, Ed. Art in General, March, 1997, p. 27.
Castaño, Javier. “El Museo de Arte de Queens auspicia el ‘Movimiento Inmigrante Internacional’,” Queens latino, Sección: Eventos comunitarios. September 28, 2011.
Cembalest, Robin “COMMENTARY: Making Themselves useful [Artists, activism, and political realities],” ARTnews, vol. 110, no.5, May 2011.
Cembalest, Robin. “Where Rube Goldberg Meets Kafka: At the Havana Bienal, concepts like political correctness and radical chic got all shook up,” ARTNews, vol. 100, no. 2, February, 2001 (illust.) pp. 150 - 151.
Civale, Cristina “Tania Bruguera: A Loyal Daughter of the Revolution,” Clarin, Buenos Aires, Argentina, September, 2009 (illust.)
Cotter, Holland “ART REVIEW; A New Latino Essence, Remixed and Redistilled,” The New York Times, Weekend Fine Art Leisure. November 28, 2003.
Cotter, Holland “Politics as Performance, an Evolving Art,” The New York Times, Section: Art&Design, THE HOT LIST | ART. June 21, 2012.
Cotter, Holland “The Gift of Art Ready to be opened,” The New York Times, Weekend Fine Arts Leisure. December 21, 2001.
Cotter, Holland. “Tania Bruguera - La isla en peso-,” The New York Times. Nov. 2, 2001.
Croke, Karen. “New show: Nudity, guns and blind do A controversial new show by Cuban artist Tania Bruguera.” LoHUDcom, January 28, 2010.
Dagen, Phillippe. “Ni vu ni connu, un slogan nazi sur le marché de l’art,” Le Monde, Culture. June 9, 2011.
Dolnick, Sam. “ An Artist’s Performance: A Year as Poor Immigrant” New York Times, vol. CLX, No. 55,410+, May 19, 2011 (digital version published May 18, 2011), New York, United States, (illust.) pp. A20, A23.
Dolores “Phrónesis. Tania Bruguera: Sobre la prudencia y la sensatez”, Blog Feminismos e outras historias. March, 2010.
Dziedzic, Erin: “Tania bruguera, The Weather Underground in Conversation,” For -The Weather Underground in Conversation-, presented in coordination with Our Literal Speed. Interaction with art blog. May 8, 2009.
Eligio (Tonel), Antonio. “A Tree from Many Shores: Cuban Art in Movement, Art Journal, Winter/98, 1998.
Faulkner, Tamara: Critic’s Choice. Chicago Reader, March 5, 2004.
Feiss, Ellen “What is Useful? The paradox of rights in Tania Bruguera’s ‘Useful Art’,” My Saic, Alumni Relations, Section: Art & Education. September 9, 2012.
Fischer, Jack: “Cuban brings a disturbing ‘behavior art’,” San Jose Mercury, January 24, 2002 (illust.) p. 3E. p. 7E.
Fusi, Lorenzo. “Stepping down from the pedestal and up to an oil drum,” The Biennial Blog (illust. & video), 2010.
Genocchio, Benjamin. “A Performance Artist and Her Greatest Hits,” New York Times, NY/Region, Art Review/Westchester. February 12, 2010.
Grosenick, Utah. “Tania Bruguera,” Art Now, Vol II. Ed. Taschen. Taschen 25th anniversary ed edition. November 30, 2005. (illust.) pp. 80 - 83.
Heartney, Eleanor. “Tania Bruguera at LiebmanMagnan,” Art in America, March, New York, United States, 2002 (illust.) pp. 131 - 132.
Heartney, Eleanor. “TANIA BRUGUERA: Politics by Other Means,” Art in America, April 2010, (cover & illust.) pp. 98 - 105.
Herrera Ysla, Nelson. “Arte cubano a vuelo de pájaro, entre dos siglos,” Arte Cubano, no. 2/00, 2000 (illust.) p. 8.
Hinchberger, Bill. “XXIII Bienal International de São Paulo,” ARTnews, December, 1996. p. 128.
IM International “Tania Bruguera’s Immigrant Movement International to Join Occupy Wall Street March,” ARTINFO International Edition, Section: In the Air,Art+Auction’s Gossip Column. Published December 14, 2011.
“Immigrant Movement International,” Art in America, Critic Picks. May 2011.
Israel, Nico. “VII Bienal de La Habana,” ArtForum Internacional, vol. XXXIX, no. 6, February, 2001 (illust.) pp. 147 - 148.
Jiménez, Carlos. “Tania Bruguera on the Relaunching of Politics,” Arte Contexto, 2009/3, no.23, (illust.) pp. 58 - 65, March, 2009.
Jiménez, Carlos. “Tania Bruguera: Infatigable,” Blogspot El Arte de Husmear de Carlos Jiménez. September, 2010 (illust.)
Lebovici,Élisabeth. “Faire, se faire et se défaire. Brava Tania Bruguera...,” Le Beau Vice, (illust.), September 11, 2010.
Lechner, Marie. “See/See Again,” Libération, Culture (illust.) p. 22. September 9, 2011.
Levin, Sam. “The art of inmigrant experience,” NYDailyNews.com, Section: Local, Queens. October 26, 2011.
Lorés, Maite. “The Art of Cuba, Art Line International,” ARTnews,vol.6, no.3. Autumn, 1995 (illust.) pp. 18 - 20.
Lucie-Smith, Edward. Art Tomorrow, Ed. Pierre Terrail, Paris, France, 2002 (illust.) p.10.
Micuccizaguedoun, Marjorie. “Le « non-musée » utopique de Tania Bruguera”, Poptronics, (illust.) September 11, 2010.
Minami, Furukawa. “The Performances of Tania Bruguera,” Chicago Art Magazine, Section Articles, Cross Discipline Art, Featured. June 30, 2010 (illust.)
Moreno, Sarah “Artista cubana busca redefinir qué es ser revolucionario,” El Nuevo Herald, Section: Cuba. December 18, 2012.
Nicolin, Paola “Art: the force of behavior,” Abitare, Issue.477. December, 2008. (illust.)
Online, Flash Art. “Castro condemns the “propagandistic anti-Cuban machinery” of performance at 10th Havana Biennial.” March, 2009.
P. Herzberg, Julia. “Ritual in Performance,” Published for the occasion of the exhibition “NeoHooDoo: art for a forgotten faith”. Co-organized by The Menil Collection and P.S. 1 Contemporary Art Center and Curated by Franklin Sirmans (illust.) pp. 60 - 62. p. 96.October, 2008.
Pase Usted. “Arte Inmigrante en Acción. El Arte como solución”, Chilango, Sección Ciudad, Nro. 96. November 11, 2011.
Phillips,Jen. “Tea with Tania,” Girlfriends Magazine, July, 2002, San Franciso, United States (illust.) p.24.
Pomairino. “Performance”, Youtube, March 30, 2009. Participación de cubanos (entre ellos, algunos blogueros) en el espectáculo Performance de Tania Bruguera, Décima Bienal de La Habana (Marzo 2009)
Posner, Helaine “Utopia/Post-Utopia: Conceptual Photography and Video from Cuba,” December, 2003. Ed. State Univ. of New York Pr.
“Postwar Memories,” By Heart / De Memoria -Cuban women’s journeys in and out of exile-, Edited by María de los Ángeles Torres, Texts by various authors, Ed. Temple University Press, Philadelphia, United States, 2003, (illust.) pp. 169 - 189.
Pozo, Alejandra: Bodies of artists in full action. Performances at and around the Sixth Havana Biennial, Art Nexus, no.26, Oct.-Dec., 1997. (ilust.) pp.77-79.
Prieto, Alicia and Mista Oh! “Know Your Rights! Cre8tive YouTH*ink and Tania Bruguera’s Immigration Movement International,” Blog Cre8tive YouTH*ink. May 2, 2011.
Queen Buzz “How To Start A Cultural Movement Where Art & Culture Meet – Immigrant Movement,” Jackson Heights & Corona / Ethnic & Religious Culture / Queens Buzz. May 1, 2011 (illust & video).
Rubin, Edward. “Tania Bruguera,” Art Nexus, Issue 77, Jan. - August. 2010 (illust.) pp. 110 - 111.
Sanchez, Yoani. “The Winds of Art, and of Freedom, Blew For a Few Minutes in Havana,” April 17, 2009.
Sánchez, Yoanis “And they gave us the microphones...,” Generación Y, March 30, 2009.
Santiago, Fabiola: “Participants in art show branded as `dissidents,” Miami Herald, CANF. Published Wednesday, April 1, 2009.
Santiago, Fabiola. “Artist’s work lets Cubans speak out in Havana for freedom,” Miami Herald, April 1, 2009.
Scholette, Gregory. “Affirmation of the curatorial class,” Afterimage, vol. 28, no. 5, Nov. 14, 2000 (illust.) pp. 6 - 7.
Sosa, Sandra “Stage Management,” The H Magazine, Section: The H Arte. 2006, Nr. 3 (H3), 2006.
Steadman, Freya “Tania Bruguera: Fearless to the point of Reckless,” Blog Freya Steadman; Art & Research. March 26, 2013 (illust.).
SV, “Tania Bruguera,” Documenta 11_Platform 5: Exhibition, Ex. cat., Ed. Hatje Cantz Verlag Publishers, Germany, 2002 (illust.)
Triff, Alfredo: “Havana Biennal, performance and wacky politics”, Posted by MIAMIBOURBAKI, Label: ART. Miami, United States (illust.) September, 2009.
Turner, Grady. “Sweet Dreams,” Art in America, Autumn/2001, New York, United States, October, 2001.
“Trust Workshop - Opening Reception Russia 2007,” Printed Project, no. 7, March 2007, Ed. Kim Levin, Dublin, Ireland, 2007, (illust.) pp. 27 - 38.
“Untitled (Havana, 2000),” Boundary 2 -an international journal of literature and culture-, vol. 29, no. 3, Fall, Ed. by John Beverley, Text by various authors, Ed. Duke University Press, North Carolina, United States, 2002, (illust.) cover, pp. 34 - 47.
Valdés Figueroa, Eugenio. “Art in Cuba. The Mask: Utopia and Ideology,” Flash Art, vol. XXX, no. 192. Jan-Feb, 1997.
Wei, Lilly. “TANIA BRUGUERA,” ARTnews, Volume 109/Number 7, Summer 2010, (illust.) pp. 131.
Weinstein, Joel. “Art and agitprop, who’s ox is it, anyway? –Tania Bruguera’s autobiografía,” Art papers, March / April, 2005, (illust.) pp. 30 - 33.
Western Mail “Artes Mundi 5 profile: Tania Bruguera,” Wales Online, Section: Life & Styles, Arts. Published November 23, 2012,
What’s New Pussycat?: Recent Acquisitions 2002-2005, Ed. Udo Kittelmann and Klaus Gorner, Museum fur Moderne Kunst, Frankfurt, Germany (illust.) 2005.
“When Behaviour Becomes Form,” Parachute Contemporary Art La Habana, no. 125, January 2007, Parachute Quebec, Canada, 2007, pp. 62 - 70
Yang, Ray. “Waiting in Line...: In Line for Close Encounters,” 4833 rph — Explore and Discuss. Hyde Park ARTCENTER. Chicago, United States (illust.) 2009.

texts and essays +