Biography | download PDF of Bio
Ricardo Miranda Zúñiga approaches art as a social practice that seeks to establish dialogue in public spaces. Having been born of immigrant parents and grown up between Nicaragua and San Francisco, a strong awareness of inequality and discrimination was established at an early age. Themes such as immigration, discrimination, gentrification and the effects of globalization extend from highly subjective experiences and observations into works that tactically engage others through populist metaphors while maintaining critical perspectives. Over the past several years, Ricardo has established a practice based in research and investigation leading to the final presentation. This is a practice that utilizes whatever media possible to present the content in a manner that may generate interaction and discussion by others.
Selected Productions & Exhibitions | download PDF of CV
2014 "Cities in Dialogue" group exhibition at Foundation for Art and Creative Technology (FACT), Independents Liverpool Biennial, UK, curated by Claire Taylor 2014 "PLAYING WITH FIRE: Political Interventions, Dissident Acts, and Mischievous Actions" group exhibition at El Museo del Barrio, New York, curated by Nicolás Dumit Estévez 2014 "Vagaries of The Commons" at Artspace, New Haven, CT, group exhibition, curated by Sarah Fritchey 2014 "Look into the Net | NET.ARTography" at Edith Russ Haus, group exhibition, curated by Gustavo Romano 2013 "EXCESS NYC" at Franklin Street Works, storefront installation and one-day event, curated by Terri Smith 2013 NYFA @ Governors Island, group exhibition Governors Island Art Fair curated by NYFA Curatorial 2012 Regeneration, group exhibition New York Hall of Science, Queens, NY 2011 - 2012 El Ranchito, group exhibition El Matadero, Madrid, Spain 2011 Mobility, group exhibition Momenta Art, Brooklyn, NY 2011 Ecologías Correlativas, group exhibition 319 Scholes, Brooklyn, NY, curated by chimera+ 2011 Toys and Games with a Twist, group exhibition Longwood Art Gallery, Bronx, NY, curated by Vanessa Gonzalez 2010 RETRO-TECH, San Jose Museum of Art, CA, curated by Kristen Evangelista 2010 p0rtables, group exhibition Museo Nacional de Bellas Artes, Santiago Chile, curated by Ignacio Nieto 2009 Return to Function, traveling group exhibition Madison Museum of Contemporary Art, curated by Jane Simon 2009 Transfer Lounge, traveling group exhibition Forja Arte Contemporaneo, Valencia, Spain, curated by Carolina Loyola Garcia 2009 Breaking News, solo exhibition at Buffalo Arts Studio, Buffalo, NY, curated by Cori Wolff 2009 Internet Art in the Global South, online group exhibition, The Joburg Art Fair 2009 Manifestos, Revolutions! online group exhibition Austin Peay University, Clarksville, TN, curated by Jillian Mcdonald 2008 On Transmitting Ideology, solo show at Vox Populi, Philadelphia, PA, curated by Anita Allyn. 2008 transmediale.08 - CONSPIRE, Festival of Video Art and New Media, at Haus der Kulturen der Welt (House of World Culture), Berlin, Germany. Presented participatory march Radio Gun Revolt as part of 12 hour performance Moving Forest 2007 TRANSITIO_MX02 at Laboratorio Art-Alameda, Mexico City. Carreta Nagua, Siglo 21 is a commission for TRANSITIO, festival of video and new media. 2007 50,000 BEDS organized by Chris Doyle at three locations - the Aldrich Contemporary Museum, ArtSpace and Real Art Ways. El Rito Apasionado is a video commissioned for 50,000 BEDS 2007 Touring Show, curated by Marisa Olson for Time Shares online exhibition series organized by Rhizome, co-presented by the New Museum 2006 FALLOUT: Nicaragua and Its Diaspora, West Kendall Regional Library, Miami-Dade County Public Library System 2006 sonambiente berlin2006, Akademie der Kunste and tesla media center, Berlin, Germany 2006 Russia: Significant Other, The National Center for Contemporary Art, St. Petersburg, Russia 2006 UNDER FIRE, I Space, Chicago, Ill 2006 ARS Electronica PRIX, Honorary Mention, Net Vision for Dentimundo, Linz, Austria 2005 FALLOUT: What's Left at Momenta Art, Brooklyn 2005 inSite 05: Tijuana Calling at the San Diego/Tiijuana Border 2005 F I L E 2005 / HIPERSONICA 2005 and F I L E GAMES 2005 at SESI Gallery, Sao Paulo, Brazil 2005 Live.Pictures at The Jamaica Arts Center for the Performing and Visual Arts, Queens NYC 2005 When Living Was Labor at the Bronx Museum, NYC 2004 Counter Culture at the New Museum of Contemporary Art, NYC 2004 Ars Electronica, Festival for Art, Technology and Society "Political Works," O.K. Center for Contemporary Art, Linz, Austria 2004 Digitofagia: Tactical Media and Activism Festival at the Museum of Sound and Image, Sao Paulo, Brazil 2004 public.exe: Public Execution at Exit Art, NYC 2004 Association for Computing Machinery Conference Exhibition at the Macy Gallery, Columbia University 2004 FILE 2004 | Electronic Language International Festival Sao Paulo, Brazil 2004 The Office Space at the Global Consulting Group's Main Headquarters, Manhattan 2003 gate page for Whitney Museum artport, December 2003 L Factor at Exit Art, NYC 2003 Alt Digital, The American Museum of the Moving Image, Queens, NY 2003 Si : Alors : Sinon : Art and Interactivity at DAÏMÕN Media Center, Quebec, Canada 2003 backup_festival: lounge|lab in Weimar, Germany, October 20th - November 2nd
2003 Artist in the Market Place Exhibtion at The Bronx Museum, NY
the exhibition will feature Nexum ATM (July 17 - September)
2003 InteractivA'03 at the Museum of Contemporary Art of Yucatan, Mexico (July) 2003 Version>03 Digital Convergence at The Chicago Museum of Contemporary Art
exhibition that featured Vagamundo,a mobile public art project
2003 Wireless Park Lab Days, a two-day event that celebrated the availability of open wireless (Wi-Fi) networks in Lower Manhattan and explores their implications for art, community, and shared space. Produced by Dana Spiegel of NYCwireless, and curator Brooke Singer and artist Yury Gitman, Wireless Park Lab Days was held in City Hall Park, September 19th and 20th. 2003 ICONOGRAPHY: Critiquing the Icon curated by Patrick Lichty, online at:ICONOGRAPHY 2003 LatinoNetarte.net: net.art from Latin American countries at JavaMuseum, curated by Agricola de Cologne, online at:JavaMuseum 2003 Chiangmai First New Media Art Festival, Contemporary Art Museum in Chiangmai, Thailand, online at http://iceca.chiangmai.ac.th/events/ (28 March - 15 April, 2003) 2003 Subrational eRuptions at Turbulence, curated by Ryan Griffis. 2003 NANOFESTIVAL V.001 at Zeroglab Zeroglab 2002 Race in Digital Space at the Lucas Complex, University of Southern California,
exhibition that featured Vagamundo,a mobile public art project
2002 The Kitchen's Fourth Annual Neighborhood Street Fair, Manhattan, NY 2002 ProFresh group exhibition at Bellwether Gallery, Brooklyn, NY 2002 FREE MANIFESTA June 15th through August 25, an open call exhibition of public art produced in conjunction with MANIFESTA 4, The European Biennial of Contemporary Art View Project: 1000 iCONS: Daily Headline Deaths | View Exhibition 2002 dLux>ART02 an International Showcase of Experimental Media Arts by Australian organization, dLux media|arts.
View Project: A Virtual Landscape | View Exhibition
2001 INCIDENT.NET, Issue 2: Portrait, On-line exhibition of net-based self-portraiture, http://www.incident.net 2001 Micromuseum, Mediaterra Festival2001, Group Exhibition traveling through Europe 2001 Borderhack 2.0, Audioworks broadcast over the US/Mexico border, Tijuana, Mexico 2000 The New Polis, solo exhibition at the Chautauqua Institute Art Center 2000 audiophile, online audio narrative at OVEN Digital, www.oven.com 2000 Video Screening of The New Revolutianary Myth at UC Santa Barbara 1999-2000 Beginning a New Century: Emerging Artists in Western New York, the Burchfield-Penny Art Center, the Museum of Western New York Arts, Buffalo State 1999 Three Rivers Art Festival, performance and installation, Cargo Load, Pittsburgh, PA 1999 Pittsburgh Fringe Festival, video screening of The New Revolutianary Mythat the Mattress Factory Pittsburgh, PA 1999 Master of Fine ArtsExhibition at the Associated Artist of Pittsburgh 1998 Video-High Speed Art, Secession Gallery Without Walls, San Francisco, CA 1998 Strictly Painting II, Mclean Project for the Arts, Emerson Gallery, Washington DC 1998 Non/Identification Ritual, Performance on the New York City Subway 1998 HoneyPie: Undercover Stripper, performance, video and on-line project with Elizabeth Monoian 1998 Wats:on Festival of Art, group exhibition at the Frame Gallery, Pittsburgh, PA 1998 Dry Run, group exhibit, Viaduct Studio, Pittsburgh 1997 A series of digitally animated public service announcements were aired on PCTV, Pittsburgh 1997 Solfrito, group exhibit, Forbes Gallery, Pittsburgh 1997 Sueno, video installation, Skoki, Poland 1996 Merengue Jingle, at the Luggage Store Window Display, San Francisco 1996 Absentee Ballot, collaborative, live, interactive television broadcast on election day 1996 with The Centre for Metahuman Exploration, Pittsburgh
1999 Carnegie Mellon University, Master of Fine Arts 1994 University of California at Berkeley, Bachelor of Arts in Practice of Art and English Literature, Minor in Spanish Literature,
2009-Present Associate Professor, Department of Film & Media Studies, CUNY Hunter 2001-2009 Associate Professor, Department of Art, The College of New Jersey 2000 - 2003 Writer and Editor of the Culture Section, Ni de Aqui Ni de Alla, for the on-line weekly publication "theSpleen" (www.theSpleen.com) 2000 Rich Media and Internet Developer at OVEN Digital, New York City 1999 - 2001 Assistant Professor, Department of Media Arts, SUNY Fredonia 1999 Adjunct Assistant Professor of Art, Carnegie Mellon School of Art, Highschool Program 1996-1999 Teaching Assistant, School of Art, Carnegie Mellon University 1996-1999 Exhibit Designer at the Pittsburgh Children's Museum, PA 1995 Instructor and Assistant Co-ordinator for a project to keep street children of the streets at the Cultural Center of Managua, Nicaragua 1994-1995 Installation Technician at the Yerba Buena Center for the Arts, San Francisco, CA
Residencies, Fellowships & Awards
2014 Presidential Fund for Faculty Advancement, Hunter College, CUNY $900 2013 HIAP - Helsinki International Artist Programme, Summer 2013 (July - August), studio space 2012 ReGeneration Artist Commission, Hall of Science, Queens, NY, $13,500 2010 PSC CUNY Grant, $5500 2008 Eyebeam Artist in Residence, Summer 2008 (July - November), $5000 and studio space 2007 New York Foundation for the Arts, Computer Arts Fellow, $7,000 2007 Finishing Fund awarded by the Experimental Television Center, $2,000 2006 Tides Foundation's Lambent Fellowship in the Arts, $21,000 2006 Artist in Residence at tesla Media Center, Berlin, Germany 2004 Turbulence Commission, New Radio and Performing Arts, $5000 2003 Future of the Present at Franklin Furnace, Manhattan, NY, $5000 2003 Electronic Media and Film Program, New York State Artists Grant Award, $500 2002 Artist in Residence at Harvestworks Media Center, Manhattan, NY, $3700 2000 Campus Professional Development Grant, SUNY Fredonia, $1000 2000 UUP Academic Incentive Award, $1000 1996-1999 Graduate Fellowship, Carnegie Mellon University 1998 College Arts Association, Professional Development Fellowship, $15,000 1998 Artist in Residence at Kunst Seminar, Metzingen, Germany, lodging and studio 1997 Artist in Residence at Skoki, Poznan Academy of Fine Art, Poland, lodging and studio
2002 Open Sourcing New Media, a review of the New Museum's Open_Source_Art_Hack published in the July/August edition of the magazine Afterimage edited by Are Flagan. 2002 The Work of Artists in a Databased Society: net.art as Online Activism, published in the March/April edition of the magazine Afterimage edited by Are Flagan.
This essay was also published in the Version>02 Conference Reader, held at the Chicago Museum of Contemporary Art.
2002 The UnderNet World: IRC as Resistant Media, published in the French Reader, Connections: Art, Network, Media edited by Annick Bureaud and Nathalie Magnan 2000-present Writer and editor of the culture columnni de aqui, ni de alla, at theSpleen, a online weekly, www.thespleen.com
2013 "Art Portfolio Ricardo Miranda Zuniga," BOMBLOG 16 December, 2013, review of recent online sketches by the editors of BOMBLOG 2011 "Take It to the Air: Radio as Public Art", by Sarah Kanouse, fall 2011 Art Journal 2010 "THE UN-ACCOUNTED BODY IN PERFORMANCE: WHO IS THE SUBJECT OF THE RIGHTS OF THE ILLEGAL ALIEN?", by Laura Sández, vol 5, no 2 LL Journal (online) 2008 "Guiding Hands Help Immigrant Artists Connect", by Tina Kelley, New York Times, Sunday Metro Section, 15 June, 2008, an article discussing NYFA's Immigrant Artist Mentor Program that I'm participating in. The article features Hatuey Ramos-Fermín my mentee and myself. 2008 On "Los 'sin papeles' mexicanos votan al presidente de EE UU" (review of VOTEMOS.US on Spanish newspaper El País), by Roberta Bosco y S. Caldana. Download PDF 2008 Mexico is different... (online), review of exhibition Transitio_MX02 by Nigel Helyer 2007 [Situational] Public, inSite_05 printed catalog,editors: Osvaldo Sanchez and Donna Conwell, published by Installation Gallery, ISBN 0-9642554-6-4 2007 Best Practices: The Pros on Adobe Flash (book) by Douglas Easterly, published by Cengage Learning 2007, ISBN-10: 1418050415, art/instructional tech/education book with dedicated chapter on my work 2007 Upgrade! International: DIY, printed by turbulence.org, catalog for exhibition, includes discussion of work 2006 The German Newspaper, die tageszeitung discusses the Public Broadcast Cart for sonambiente: Stimmen blÃ¯Â¿Â½hen aus dem Wagen, by ALJOSCHA WESKOTT 2006 El Pais Review of Fallout: What's Left - "El arte digital no olvida Nicaragua by Roberta Bosco, EdiciÃ¯Â¿Â½n del jueves, 30 de marzo de 2006, Archived PDF 2006 Ricardo Miranda ZÅ“â€“iga Ã a multimedia artist focused on social commentary by Doug Easterly, May 2006, ACM Siggraph Publication 2006 Flash Art Magazine Review of Fallout: What's Left by Akiko Ichikawa, March - April 2006, Vol.XXXIX No.247, Page 53 2006 El Soldado DesconocidoMarca Acme, online Nicaraguan culture site review of artist presentation at Managua's Teatro July by Rodrigo Peñalba 2005 The Other Middle America by Ryan Griffis, December 2005 2005 Net Art: Nicaragua Story by vtanni, Random, June 2005 2004 Counter Culture on the Bowery and Vicinity by Cathy Lebowitz, Art in America, November 2004 2004 New Museum's New Non-Museum: For Now, A Parking Lot Will Do Just Fine by Randy Kennedy, Art & Leisure, New York Times, July 25, 2004 2004 Treasure Hunt: To get a sneak peak at the New Museum's new digs, you'll need a map and sensible shoes by Linda Yablonsky, Time Out New York, issue 462 August 5 - 12, 2004 2004 In Sink: the New Museum of Contemporary Art taps the Bowery for an interactive show by Steven Stern, Time Out New York Kids, Summer 2004 2004 From Flophouse to Art House: the New Museum puts down roots in the Bowery New York Magazine, July 12, 2004 2004 A Tour of the Bowery, Through an Artist's Eye by Kolby Yarnell, Culture Desk, The New York Sun, August, 2004 2003 furtherfield.org: Essay, Information in the Expanded Field: a Case Study by Ryan Griffis and Interview 2003 Interdisciplinary Practice/Viewer Experience by Judy Malloy, NYFA Current (c) 2003, avialable online at EZine 2003 Arcade Classics Spawn Art? Current Trends in the Art Game Genreby Tiffany Holmes, 2003, .pdf avialable online at MelbourneDAC 2003 AIM 23 The Bronx Museum of the Artsby Brian Boucher, International Flash Art Review online at MelbourneDAC 2003 Un vÃ¯Â¿Â½lo, un caddie et un pousse-pousse wifi: Trois prototypes associatifs de haut dÃ¯Â¿Â½bit embarquÃ¯Â¿Â½by Thuan Huynh, online at transfert.net 11/2003 Archive 2003 VAGABUNDO: A migrantÃ¯Â¿Â½s tale by Costanza Ruggeri, online at CULTUR-E [la revista] 2002 Representin': Digital Artists Confront Race, by Cinque Hicks, RHIZOME.ORG 2002 Vagamundo: uno street-game digitale sull'immigrazione clandestine, by Tatiana Bazzichelli, Neural Online: New Media Art and Hacktivism Magazine, read review 2002 Histoires dÃ¯Â¿Â½immigrants et cropuis laurentiens, by Bruno Guglielminetti, Cyberpresse, Canda 2000 Alberto Rey on Mary Tobola and Ricardo Miranda Zu3iga, Beginning a New Century: Emerging Artist in Western New York, Burchfield Penney Art Center
Lectures and Panels
2014 Key Note and 2-Day Workshop, at Seminario Transmedia y Narrativas Audiovisuales, Cali, Colombia 2014 Artist Lecture, at Clemson University, Clemson, S.C. 2014 Evidence Fetish: Excavating the Public's Trash and Artifacts, panel with Mengyu Chen, Brooke Singer, Brad Armstrong, Lani Asuncion and Gary Aronsen at Artspace, New Haven, CT 2013 Artist Lecture, Upgrade! San Francisco at Artist Television Access (ATA) 2013 Just Food Conference, Making Art With Food In Mind, panel with Atom Cianfarani, Jason Gaspar, Lisa Gross, Tattfoo Tan 2011 Expanding the Documentary, Electronic Geographies, panel with Joe McKay, Stephanie Rothenberg, Josh Tonsfeldt, Andrea Grover at SUNY Purchase College 2011 Caesura Conversation: Stories in Reserve, panel with Sarah Kanouse, Ryan Griffis, Lize Mogel, and Sarah Ross, CUNY Graduate Center, James Gallery, NYC 2010 Medios Locativos y Herramientas de Visualización de Datos (Locative Media and Tools For Data Visualization), invited lecture and workshop at Matucana 100, Cultural Center, Santiago, Chile 2009 Fantastic Politics: Art as Political Campaign, panel at Conflux Festival 2009, panel organizer and panelist along with Larry Bogad and Andrew Boyd, NYU 2009 Aritst Lecture, Visual Studies Lecture Series, University at Buffalo, NY 2008 Artist Lecture, Minneapolis College of Art and Design, MN 2008 Artist Lecture, Florida State University, Tallahasee, FL 2008 Artist Lecture, at conference titled MexiQue? Arte_Identidades, Universidad Iberoamericana, Mexico City, Mexico 2006 EVIL Artist Lecture Series, Managua, Nicaragua 2006 Grounds for Sculpture Artist Lecture Series 2006 Syracuse University Artist Lecture Series, hosted by Douglas Easterly 2005 Floating Points Lecture Series presented by Emerson College and Turbulence. The presentations by Andy Deck and myself are online at the Floating Points site. 2004 The Upgrade, a monthly lecture series in NYC by new media artists and curators, organized by artist Yael Kanarek and held at Eyebeam, NYC 2004 networks, art and collaborations, conference held at SUNY at Buffalo, organized by Geert Lovink and Trebor Scholz Department of Media Studies Artist Lecture, at SUNY at Buffalo, Department of Media Studies 2004 Visiting Artst Lecture, at SUNY at Buffalo, Department of Media Studies 2004 Visiting Artst Lecture, at the School of Visual Arts, NYC Graduat Physical Computing Class 2002 ART, LIFE, MEDIA, MACHINES, a panel discussion on new media art and social engagement at the Bass Museum of Art, Miami, FL 2000 The UnderNet World: Identity Is Information, presented at Consciousness Reframed: art technology and consciousness for the 3rd Centre for Advanced Inquiry in the Interactive Arts International Research Conference, University of Wales College, Newport, UK 1999 College Art Association, Professional Development Fellowship Lecture
Western Art History presents a long lineage of fine artists linked by tradition, genre and thematic or intellectual discourse. Marginalized by this institution are artists who practice outside of the existing categories to produce interdisciplinary work that can not be exhibited within the museum or gallery. My academic research has allowed me to explore such work within the Developed Western World as well as artistic work from largely ignored underdeveloped countries. Just a few examples of truly interdisciplinary practitioners are Asco (a conceptual performance group from East Los Angeles between 1971-1985), The Royal Chicano Air Force (whose purpose was to bring political action and artistic expression together in the Chicano community), and the Situationist International (founded in 1957 by Guy Debord, Asger Jorn and Giuseppe Pinot-Gallizio, an offshoot of the Letterist International, and influenced by anarchist ideas).
A second set of artists that are traditionally largely excluded from the Western institution of fine art are those who make use of emergent technologies to produce their work. In the late 60s and early 70s it was the early video artists, today it is a small group, but well dispersed number of artist that use robotics, telecommunication and programming languages as tools to explore current social issues. It is this group of artists that I consider today's avant-garde who may eventually reshape the institutional interpretation of art as commodity.
In my own practice I seek to produce work that establishes a union between traditional media and new media. This is work that attempts to cultivate interaction with the viewer beyond passive contemplation and may include performance, sculpture, video and audio or a combination of all.