He lives and works between Mexico City and Lima. Since 2010, Jos\u00e9 Carlos Martinat’s work has focused primarily on exploring and experimenting with the concepts of appropriation and recontextualization. It was at this time that he began the “Pintas” series: extractions of logos or fragments from political campaigns specifically painted on the walls of Lima, which are subsequently recontextualized in the exhibition space. From its inception, the project sparked a multitude of debates and controversies, focusing on topics such as the local political situation, the mechanisms for disseminating principles and ideals, and the possible extrapolarization of these dynamics to other territories. It also questioned other issues such as the role of the artist and the concept of authorship.<\/p>\n\n\n\n
His solo exhibitions include: Track 1, Revolver Gallery, Lima, 2014; Superficial Exercises on Devices of Delight, Leme Gallery, Sao Paulo, 2013; Superficial Exercises, Baginski Gallery, Lisbon, 2012; Exercises in Subtraction for Distraction, Revolver Gallery, Lima, 2010; Vandalizable Monuments, Lima Art Museum (MALI), Lima, 2010; Exercises for the Gallery, Liprandi Gallery, Buenos Aires, 2010, among others.<\/p>\n\n\n\n
His most recent group exhibitions include: Pangaea: New Art from Africa and Latin America, Saatchi Gallery, London, 2014; Dixit, ArteBA, Buenos Aires, 2014; Art Public, Miami ArtBasel, 2014; Project Space: Ruins in Reserve, Tate Modern Museum, London, 2013; Suspicious Mind, Galer\u00eda Vermelho, S\u00e3o Paulo, 2013; Ruinas en Reserva, Museo de Arte de Lima (MALI), Lima, 2013; MODIFY, AS NEEDED, Museum of Contemporary Art (MoCA), Miami, 2012; City Pavilions, 9th Shanghai Biennale, Shanghai, 2012; The Collaborative: Moola – Museum of Latin American Art, Los Angeles, 2012; among others.<\/p>\n\n\n\n
His work is included in collections such as Tate Modern, Museo de Arte de Lima (MALI), MALBA, MoMA, and Saatchi Gallery.<\/p>\n\n\n\n