Betsabeé Romero is known internationally for her large-scale public works and unconventional approaches to trace-making. Her work incorporates materials and techniques from vernacular tradition and popular arts as a mode of cultural resistance and as a form of festive celebration. Romero explores themes ranging from the megalopolis of Mexico City to pollution, border culture, migration, and movement in contemporary life by recycling mass produced objects—such as cars and tires—that act as cultural vehicles, capitalizing on their material and metaphoric import. She enacts anti-modern gestures (through collective, hand-made labour techniques) that operate against the mechanization of industrial processes to decolonize materials, such as rubber or chewing gum. Romero is interested in how the global incorporation of influences can be a form of cultural dialogue in the aftermath of colonialism, particularly in the Americas. Conjuring the global-ancestral to explore the borders between the local and trans-national; the individual and social; and the elitist and popular, Romero’s work can be viewed as symbolic action that enlists culture as the receptacle of deep-time and reinvests in knowledge that is slow and cyclical. — Emelie Chhangur, 2017 – Date:Tuesday May 23. 2017

Betsabeé has participated in over 30 solo exhibitions in Mexico, the United States, Europe, and South America, notably the British Museum, Museo Carrillo Gil, Nevada Museum of Art, the Nelson & Atkins Museum of Art, Anahuacalli Museum, Dolores Olmedo Museum, Old Colegio de San Ildefonso, Museo Amparo in Puebla, Canberra University Museum, Recoleta in Buenos Aires, and upcoming at the Art Gallery of York University in Toronto (2018) She has participated in numerous residences and international exhibitions such as Bienal de la Habana, Bienale de Portoalegre, Polygraph Triennale in Puerto Rico, Philagráfica in Philadelphia, InSite 97 in San Diego-Tijuana, Biennial of Cairo. She is the 2018 Odette Sculptor in Residency in the School of the Arts Media, Performance & Design at York University.

Her work is part of important collections such as the British Museum Collection, Daros Collection in Switzerland, Nelson & Atkins, Nevada Museum of Art Collection, World Bank in Washington, Gelman in Mexico, MOCA in Los Angeles, Monterrey Museum, Museo de Arte Contemporáneo de Portoalegre Brazil and others.

Thanks to all who attended Conversalón_16, to Sojin Chun and Emelie Chhangur, and especially Betsabeé for a wonderful night of artistic “ofrendas” and delinking and relocations of popular culture and colonial assumptions.