Curriculum Vitae

Education | Honors | Exhibitions | Residencies
Bibliography | Lectures | Teaching

Alex Villar
Born 1962, Vitória, Brazil.
Lives and works in New York.


2000 ISP, Whitney Museum, New York.
1998 MFA, Hunter College, New York.
1984 BA, Hélio Alonso, Rio de Janeiro.


2016 Program Adviser, Art & Law Program, New York, US
2014-15 Advisory Board. Member, Critical Practices, New York.
2011 Fellowship Award, Edward and Sally Van Lier Fund of the New York Community Trust, New York.
2009 Individual Artist Grant, Northern Manhattan Arts Alliance, New York.
2008 Grant for Arts in Public Space, Lower Manhattan Cultural Council, New York.
2008 Travel Support, Office for Contemporary Art, Oslo.
2004-8 Advisory Board Member, Artist Advisory Committee, Performative and Cross-disciplinary work, New York Foundation for the Arts, New York.
2007 DaNY Grant: phase II, Danish Arts Council, Copenhagen/New York.
2006 DaNY Grant: phase I, Danish Arts Council, Copenhagen/New York.
2006 Grant for Arts in Public Space, Lower Manhattan Cultural Council, New York.
2004 Artist and Audiences grant, New York Foundation for the Arts, New York.
2004 Professional Development fellowship, Creative Capital and Aljira Contemporary Art Center, Newark.
2004 Prosjektstotte Grant, Kulturradet, Oslo.
2003 Artist’s Fellowship, New York Foundation for the Arts, New York.
2002 Public Project commission, Lower Manhattan Cultural Council/World Financial Center, New York.
1999 Small Works Juror Award, Ronald Feldman/Ronald Feldman Fine Arts, New York.
1999 Manhattan Community Arts Fund Grant, Lower Manhattan Cultural Council, New York.
1997 Professional Development Fellowship, Honorary Mention, College Art Association, Toronto.


Solo/Two-Person indicated with an asterix

Videonale: Performing the City, Kunstmuseum, Bonn, Germany
11th NYC Anarchist Art Festival, Judson Memorial Church, New York

La Suspensión del Deseo (The Suspension of Desire) Muestra colectiva de fotografía y video contemporáneos, Centro De Desarrollo De Las Artes Visuales, Habana Vieja, Cuba
CTAB Attitude 2016, Cultural Center Magaza, Bitola, Macedonia
10th NYC Anarchist Art Festival, Judson Memorial Church, New York.
Interposed, Center for Community and Culture, Yonkers, NY

Time & Tide, Seaport Cultural District, New York, US.
9th NYC Anarchist Art Festival, Judson Memorial Church, New York.

Post-Global Biennale, Art Institute, San Diego.
Jinga Luanda, Festival Internacional de Videoarte, Luanda.
On the Edge and Breaking into Business, Trondheim Kunstall, Trondheim.

Topology of the Visible, Festival de la Imagen, Colombia.
Topology of the Visible, 5to. Festival Internacional de Videoarte, Camagüey.
N-Box, K11 Art Space, Shanghai.
Art & Law Codex, ICI, New York.

Time & Tide, Seaport Museum, New York, US.
Walking in the City, Museum of Fine Arts, Boston.
Multiple Choices, Karst Projects, Plymouth.
Practiced Space, Video Guerrilha + N-Minutes Festival, Shanghai.
Mediations Biennale, Poznan.
Multiple Choices, Torpedo, Oslo.

Alex Villar, Hansberg/Woolf, Glasgow.
Notice of Public Hearing, Sculpture Center, New York.
Ivory Tower, Contemporary Wing, Miami.
Bring to Light/Nuit Blanche, New York.
43 Uses of Drawing, Rugby Art Gallery and Museum, Rugby.
Experimental Geography, Foreman Art Gallery
Aljira Benefit, New Jersey.
Smack Mellon Benefit, New York.
Video Guerrilha, São Paulo.
Encontros, Metro, São Paulo.
Open City, Lublin.
Lumen, New York.

Experimental Geography, Colby Museum, Maine.
Force of Forward, Manhattan Anchorage Bridge, New York.
Bodies of Dispersion, Galeria Arsenal, Bialystok.
The Philosophy of Money, Museu da Cidade, Lisbon.
Experimental Geography, James Gallery, Graduate Center, New York.
City Beats, BankArt 1929, Yokohama.
Lumen, Atlantic Salt, New York.
Experimental Geography, Museum London, Ontario.
Flux Factory Benefit, Center 548, New York.

Custom Car Commandos, Art in General, New York.
The Object is Illuminated, Latin Collector, New York.
Preemptive Resistances, Westport Arts Center, Connecticut.
Experimental Geography, Rochester Arts Center, Rochester.
Konstbio: Occupant, Bio Sture in Stockholm and Fyrisbiografen in Uppsala.
Financial District, International Studio & Curatorial Program, New York.
Subversive Spaces: Surrealism and Contemporary Art, The Whitworth Art Gallery, Manchester.
Uptown Arts Stroll, NoMAA, New York.
5th Attitude, Center for Contemporary Public Art, Bitola.
Everything, then, Passes Between Us, Kölnischer Kunstverein, Cologne.
Experimental Geography, Albuquerque Museum, Albuquerque.
Then, End, Frederico Sève Gallery/Latin Collector, New York.
City Beats, Dorsky Gallery, New York.
Subversive Spaces: Surrealism and Contemporary Art, Surrealism and Contemporary Art, Sainsbury Centre for Visual Arts, Norwich.
Experimental Geography, Miller Gallery, Pittsburgh.
Avant-Guide to NYC: Discovering Absence, Apexart, New York.
Around America IV: Marking Time, Making Space, Beirut Art Center, Beirut.

20 Desarreglos, Museo de Arte del Banco de la República, Bogotá.
Between the Images, Rumänska kulturinstitutet, Stockholm.
You are Living in a Space like mine, flutgraben e.v., Berlin.
Experimental Geography, The Galleries at Peeler, Greencastle.
Video Now: Artists Working in the Spirit of Bruce Nauman, The Menil Collection, Houston.
Multiple Choices, Oslo Kunstforening, Oslo.
Evolution de l’Art, Unfair Fair, Loto Arte, Rome.
9th International Biennial of Miniature Art, the Cultural Center, Gornji Milanovac.
City Beats: An exploration of the social, cultural and physical dimensions of the city, Zendai Moma, Shanghai.

Open House with Open Studios, Iaspis, Stockholn.
The Ferry Experiment, Staten Island Ferry, New York.
Open House, Swing Space, New York.

Waste Management, New York.
Adolescent boys and Living rooms, Aurora Microcinema, Houston.
De Sign, University of Essex Gallery, Colchester.
Lust for Life, the Breeder, Athens.
Mind the Gap, Smack Mellon, New York, US.
The Peninsula, Singapore History Museum, Singapore.
When Artists Say “We”, Artists Space, New York.

de-tour at uks, UKS, Oslo.
Alytus Biennial, Alytus.
Everything I’d Ever Discovered, Cirrus Gallery, Los Angeles.
Everything I’d Ever Discovered, Vox Populi, Philadelphia.
Fifth International, Center for Contemporary Public Arts, Bitola.
Panorama: Desarranjos, Marco, Vigo.
Projetéis, Funarte, Rio de Janeiro.
Projectiles de L’Art Contemporain, L’Espace Brésil, Paris.
Reclaiming Space, Space Gallery, Portland, Maine.

Upward Mobility, the New Museum, New York.
Tropes and Thresholds, Signal, Malmo.
Art in the Office, GCG, New York.
Let’s get Tested, Internationale Kurzfilmtage, Oberhausen.
Global Priority, San Francisco Arts Commission Gallery, San Francisco.
1:100, Dckt Contemporary, New York.
Panorama: Desarranjos, MamAM, Recife.
Playpen, Drawing Center, New York.
Slowness, Govett-Brewster, New Plymouth.
The Interventionists, MASS MoCA, North Adams.
The Spectacle of Society, Chicago Filmmakers, Chicago.
Un-staged, Arti et Amicitiae, Amsterdam.

Adolescent boys and Living rooms, Outfest: Platinum, Ed Gould Plaza, Los Angeles.
Ladies and boys and touching, Video Mundi, The Chicago Cultural Center, Chicago.
Coming Out: introducing United Net-works, Kulturhuset, Galleri K1, Stockholm.
Field of Actions, The Bass Museum of Art, Miami.
FMZ, Galeria Arsenal, Bialystok.
Global Priority, Amherst University Gallery, Amherst.
Go: Liquidacion Total, Madrid.
Ladies and boys and touching, Artists’ Television Access, San Francisco.
Ladies and boys and touching, Video Mundi, Heaven Gallery, Chicago.
L-Factor, Exit Art, New York.
Panorama: Desarranjos, Museu de Arte Moderna, São Paulo.
Panorama: Desarranjos, Paço Imperial, Rio de Janeiro.
Raw, Smack Mellon, New York.
Record, Boyle Heights space, Los Angeles.
Slowness, Dorsky Gallery, New York.
Stream on Location, Location One, New York.
24/7, Contemporary Art Centre, Vilnius.
Walking in the City: Spatial Practices in Art, from the Mid-1960s to the Present, Apexart, New York.
Walking in the City: Spatial Practices in Art, from the Mid-1960s to the Present, Fridericianum, Kassel.
Irrational Intervals and Other Ways, Conduit Gallery, Dallas. *

Irrational Intervals, World Financial Center, New York.
Upward Mobility, Danger Museum project room, inIVA, London.
Contemplative Spaces in Urban Landscapes, Overgaden, Copenhagen.
Prime Time: Déclassement, B-Books Festival, Berlin.
Second Sight, Hunter Art Gallery, New York.
Space in Between Things, Stefan Stux Gallery, New York.
UKSellOut, Norwegian Union for Young Artists, Oslo.
Urban Tales: Beneath the Surface of the Post-Industrial City, Väinö Linna’s Square, Tampere.

Back and Forth, Vacancy Gallery, New York.
Not a Place, Galerie Joanna Kamm, Berlin.
Other Ways, Art Container, New York.
Other Ways, Galeri Tommy Lund, Copenhagen.
Outerplace, Lichthaus, Bremen.
Temporary Occupations and Other Languages, Halle für Kunst, Luneburg.
Between, New Art Center, Boston.
Hybrid Dwellings, Galeria Arsenal, Bialystok.
Unheard of, Cuchifritos, New York.
Temporary Occupations, Brewster Project, New York.

Amateur, Goteborg Konstmuseum, Gothenburg.
Models of Resistance, Overgaden, Copenhagen.
Open Studios, ISP, New York.
Video Projects, Bona Fide Gallery, Chicago.

Fairy-tale, Center for Metamedia/Hermit Foundation, Plasy.
National Prize Show, Cambridge Art Association, Cambridge.
New York, New York, HarperCollins Exhibition Space, New York.
Parking, Highbridge Park, New York.
Small Works, Washington Square East Galleries, New York.

Between, The Jacksonville Museum of Contemporary Art, Jacksonville.

Artists Books, Hunter College Art Gallery, New York.
New York Area MFA Exhibition, College Art Association, New York.
Scene/Unseen, Eastern New Mexico University, Portales.
Specific Sites, Hunter College Art Gallery, New York.



2011 VLA Art & Law Residency Program, New York.
2007 Iaspis, International Studio Program, Stockholm.
2007 Swing Space, LMCC, New York.
2005 Office for Contemporary Art, Oslo.
2004 Office for Contemporary Art, Oslo.
2002 Lower Manhattan Cultural Council/World Financial Center, New York.
1999 Center for Metamedia, Plasy.



Articles and Reviews

Dignazio, Catherine. Art and Cartography, In Kitchin R, Thrift N (eds), International Encyclopedia of Human Geography, Volume 1 (Oxford: Elsevier, 2009) pp. 190–206.
Rosenberg, Karen. Custom Car Commandos (New York: The NY Times, February 26, 2009).
Schwartzberg, Neala. Experimental Geography at the Albuquerque Museum: a winning exhibit and part of Land/Art New Mexico (New York:, July 6, 2009).
Warren, Tamara. Custom Car Commandos (New York: Gotryke, February 16, 2009).
Vivona, Diane. Custom Car Commandos and Martin Murphy (New York: Gallery Crawl, Jan 26, 2009).
Schwartzberg, Neala. Experimental Geography at the Albuquerque Museum: a winning exhibit and part of Land/Art New Mexico (New York: Examiner, July 6, 2009).

Flor, Harald. Fantasiflukt og fanget kropp (Oslo: Dagbladet, Jan 20, 2008) p.38-39.

Kanarinka. Art-Machines, Body-Ovens and Map-Recipes: Entries for a Psychogeographic Dictionary (Delaware: Journal of the North American Cartographic Information Society, Winter 2006) pp.24-40.
Kazi, Olympia. Filling the Void (New York: The Architect’s Newspaper, May 10, 2006) p.22.
Schmerler, Sarah. Mind the Gap (New York: TimeOut, April 13, 2006) p. 80.

Flor, Harald. Kroppi Konflikt (Oslo: Dagbladet, Jan 30, 2005) p.45.
Røed, Kjetil. Dekonstruksjoner av byrommet (Oslo: Kunstkritikk, Feb 18 2005).

Carvalho, Denise. Disarranged-Panorama 2003 of Brazilian Art (Atlanta: Art Papers, Jan/Feb, 2004) p.60.
Ammirati, Domenick. Art in the Office (New York: Artforum online, 2004).
Camnitzer, Luis. Los Latinos (Miami: Art Nexus, Apr, Issue 52, 2004).
Cotter, Holland. Hometown of Utopia and Dissent (New York: New York Times, Jul 23, 2004).
Demos, T.J. Interventionists (New York: Artforum, November, 2004).
Lira, Ana. Viva a Desordem: Mostra Celebra a Arte Brasileira Através da Desarrumação (São Paulo: Rabisco, #39, 2004).
Ptáček, Jiří. A User’s Guide to Capitalism (Lüneburg: Umelec International, 3/2004).
Ryan, Zoë. Street Smart: Talking on the Variable City (New York: Van Alen Report, Oct, 2004).
Thompson, Nato. Spectacular Tactics (New York: Tema Celeste, Sep-Oct 2004, issue 105) pp.48-53.
Wasilewski, Marek. Art as Transporter (New York: PAJ: A Journal of Performance and Art, Vol 76, Jan 2004) pp. 100-102.

Bittencourt, Elaine. Um Panorama as Avessas (São Paulo: Gazeta Mercantil, 2003).
Camper, Fred. Ladies and Boys and Touching (Chicago: The Chicago Reader, 2003).
Chasin, Noah. Raw: Smack Mellon Studios (Time Out: New York, issue 391, Mar 27, 2003) p.54.
Chasin, Noah. Walking in the City (New York: Time Out, Jan 23-30, Issue 382, 2003) p.48.
Dubinskaitè, Renata. Kasdienybė visada vyko visą parą (Vilnius: Dailè, Feb, 2003).
Hirszman, Maria. Irreverência and concisão marcam o Panorama da Arte Brasileira (O estado de São Paulo, Caderno 2, Dec 16, 2003) p.D1.
Hirszman, Maria. Panorama traz lado provocativo da arte (Estado de São Paulo, Aug 18, 2003).
Kawke, John. Raw: Smack Mellon (New York: The Brooklyn Rail, Apr-May 2003) p.19.
Koh, Laurie. Ladies and Boys and Touching (San Francisco: The San Francisco Bay Guardian, 2003).
Levin, Kim. How Latin is it? From Carmen Miranda and Pele to J. Lo (New York: Village Voice online, Dec 19, 2003).
Lopes, Fernanda. Panorama da Arte Brasileira (São Paulo: Obra Prima, 2003).
Morgan, Robert. New Paradigms in Video Art (Seoul: Korean Art Monthly, 2003).
Novaes, Tereza. Curador subverte panorama do MAM (São Paulo: Guia/Folha de São Paulo, 2003).
Petrakis, John. Screen Gems: Avant Garde gets its due at Video Mundi (Chicago: The Chicago Tribune, 2003).
Rosenberg, Karen. Opening Hotel Chelsea (New York: New York Magazine, Sep 20, 2003) p.91.
Sheikh, Simon. Counter-public works: re-mapping public space (Dublin: Printed Project, Sep, 2003) pp.37-42.
Rosenberg, Karen. Opening Hotel Chelsea (New York: New York Magazine, Sep 20, 2003) p.91.
Staff writer. Panorama de Arte Brasileira: Desarrumado (São Paulo: The Economist, Oct 2003).
Zawadecka, Iwona. Kurier Kulturalny (Bialystok: Telewizja Polska 3, 2003).

Cotter, Holland. Rain or Shine, Residing Outdoors (New York: The New York Times, Aug 9, 2002) p.E29.
Cotter, Holland. Second Sight (New York: The NY Times, Friday, Mar, 22, 2002) p.E36.
Schambelan, Elizabeth. New Views (New York: Artforum online, Critics Pics, 2002).
Kimmerling, George. Public Access (New York: The Lowdown, Winter, 2002) p.5.
Toko. The Danger Museum (Tokyo: Fogless, 2002).
Vogel, Carol. Provenance Adds Value (New York: The NY Times, Friday, Nov 11, 2002) p.E33.

CK, Auch die Zukunft hat eine Zukunft (Bremen: Taz Bremen, Jun 19, 2001) p.23.
Darmon, Adrian. Art in a Shipping Container (New York: Artnet News, May 22, 2001).
Gorczyca, Lukasz. Hybrydy z Ameryki (Warsaw: Raster Art Magazin, Apr 2001).
Gregorczuk, Agnieszka. Hybryda o tysiacu twarzach (Bialystok: Gazeta w Bialystoku, Apr 9, 2001).
Hetscher, Iris. Kein Aliens in Gropelingen (Bremen: Weser-Kurier, Jun 17, 2001) p.11.
Ka. Mieszkania–hybrydy (Bialystok: Gazeta Wspotczesna, Apr 9, 2001).
Kern, Kristine. Tag Trapperne (Copenhagen: Politiken, Jun 22, 2001) p.8.
Leeb, Susanne. Sally Gutierrez und Alex Villar (Berlin: Texte Zur Kunst, NR43, 2001).
OC. Vom Erleben des Raums (Lüneburg: Landeszeitung, October, 2001).
Siepen, Nicolas. Der Blick in den Raum der Stadt (Berlin: Frankfurter Allgemeine Zeitung, June 20, 2001) p.BS4.
Smith, Roberta. As the Chelsea Art World Expands, a Host of Visions Rush In (New York: New York Times, Friday, Jun 1, 2001) p.E2.
Wasilewski, Marek. Hybrid Dwellings (Vienna: Springerin, issue Feb 1, 2001) p. 66-67.
Szerszunowics, Jerzy. Arsenal hyrbryd wspolczesnych (Bialystok: Apr 9, 2001).

Greene, Rachel. We have liftoff (New York: Time Out, issue 1/00, May 18-25, 2000) p.73.
Kramer, Mark. Amateur (Gothenburg: Nifcainfo, issue 1/00, May, 2000).

McDonald, Jillian. Art in the Park, in Mess: The Stuff that Really Surrounds You (Toronto: Tart Magazine, issue 7, Aug 1999) p.31.

Allan, Ken and Steven Sims. Bodies and Banality: The Art of Alex Villar and Karolyn Hatton, in Portraying Authority (Chicago: Chicago Art Journal, Spring, volume 8, no.1, 1998) pp.62-71.
Weightman, Sharon. Multimedia Meditation: Exhibit United Uses Hi-tech to Explore Human Thought (Jacksonville: The Times Union, Wednesday, Mar 25, 1998) C1.

Carvalho, Denise. Spaciously Incorrect: Questioning the Rhetoric of the Banal (New York: Urban Desires Magazine, issue 3.3, May 1997).
Steckler, Debra. New York, Idioma Brasil: A Brief Survey of Brazilian Artists in New York (New York: NY Arts Magazine, issue 13, Sep 1997) pp.7-9.

Books, Catalogs and Brochures

Schwarzbart, Judith. Multiple Choices (Oslo: Oslo Kunsforening, 2012).

Incirlioglu, Guven & Hakan Topal, eds. The Sea-Image: Visual Manifestations of Port Cities and Global Waters (New York: Newgray, 2011).

Carvalho, Denise. Preemptive Resistances: Critical Pointers in Latin American Art (Connecticut: Westport Arts Center, 2009).
Dezeuze, Anna, Samantha Lackey, and David Lomas. Subversive Spaces: Surrealism and Contemporary Art (Manchester: University of Manchester, 2009).
Fischer, Berit. City Beats (New York: Dorsky Gallery, 2009).
Skurvida, Sandra. Image Drives in Custom Car Commandoes (New York: Art in General, January, 2009).

Kunsch, Graziela. Revista Urbania 3 (São Paulo: Editora Pressa, 2008).
Thompson, Nato. Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism (New York: Melville House, 2008).
Vuckovikc, Zarko. 9 International Biennial of Miniature Art (Gornji Milanovac: The Cultural Centre/Ministry of Culture, Serbia, 2008).

Diaz, Eva and Beth Stryker. Mind the gap (New York: Smack Mellon, 2006).
Hazard, Leigh and Ashlee Gross. De-sign(Colchester: University of Essex, 2006).

Chaves, Xico et al. Projéteis de Arte Contemporânea Funarte (Rio de Janeiro: Funarte, 2005).
Kokache, Moukhtar and Erin Shirreff. Site Matters (New York: LMCC, 2005).

Griese, Horst. Lichthaus plus Neue Kunst: Projekte 2001-2004 (Bremen: Lichthaus, 2004).
Mosquera, Gerardo. Panorama: Desarranjos (São Paulo: MAM, 2004).
Thompson, Nato and Greg Sholette, eds. The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life (North Adams: MIT, 2004).
Vicente, Mercedes. Slowness (New Zealand: Govett-Brewster, 2004).

Banai, Nuit. Siting the Everyday, in New Views (New York: LMCC/WFC, 2003) pp.6-11.
Brookhart Beyer, Melissa and Jill Dawsey. Walking in the City: Spatial Practices in Art, from the Mid-1960s to the Present (Kassel: Fridericianum, 2003).
Brookhart Beyer, Melissa and Jill Dawsey. Walking in the City: Spatial Practices in Art, from the Mid-1960s to the Present (New York: Apexart, 2003).
Samos, Adrienne. Panorama (São Paulo: MAM, Oct 2003).
Vicente, Mercedes. Slowness (New York: Dorsky Gallery, Nov 2003).

Carter, Rob; Sian Foulkes, Casey Ruble, Allyson Spellacy and Lynn Sullivan. Second Sight (New York: Hunter, 2002).
Griese, Horst, Katya Sander and Alex Villar, Lichthaus plus Neue Kunst: Outerplace (Bremen: Lichthaus, 2002).

Carvalho, Denise. Hybrid Dwellings (Bialystok: Galeria Arsenal, 2001).
Cornyn, Alison. b/t*: Between (Boston: The New Art Center, 2001).

Carvalho, Denise. Fairy-tale (Plasy: Center for Metamedia, 2000).

Cornyn, Alison. b/t*: Between (Jacksonville: The Jacksonville Museum of Contemporary Art, 1999).

Interviews and Conversations

Mariam Ghani, Lan Thao Lam, Hakan Topal, and Alex Villar. New Geographies at Transborder Art Migration, Democracy and Emancipation: (New York: Transborder Art, 2016).

d’Ailly, Stella and Aldy Milliken. Interview with Alex Villar (Stockholm: Iaspis, August 2007).
Mesquita, André. Resistência biopolítica: uma entrevista com Alex Villar (São Paulo: Rizoma at Documenta, 2007).

Kroksnes, Andrea; Miho Shimizu, Oyvind Renberg and Alex Villar. Dialogical Encounters#1: de-tour at uks (Oslo: UKS/Office for Contemporary Art, 2005).

Barnett, Erin. Interview with Alex Villar (New York: New Museum, 2004).

Sander, Katya and Alex Villar. Temporary Occupations and Other Double Binds (Luneburg: Revolver, 2003).
Roth, Moira. Minding the Gap (New York: Online Printhouse, 2003).
Sheikh, Simon. A Conversation about Alex Villar’s work (New York: Danger Museum/Apexart, 2003).

Renberg, Oyvind. A Conversation about Alex Villar’s work (London: Online Printhouse, 2002).

Renberg, Oyvind. Interview with Alex Villar (Oslo: Online Printhouse, Aug-Nov 2001).


Processes of Formalization in Pasolini’s Saló (New York: Art Law Program, 2015).

Normalizing Mechanisms (New York: Art Law Program, 2013).

Like a Fish out of Water, in Water (Poznan: Mediations Biennale, 2012).

Breathing Understudy, in The Sea-Image: Visual Manifestations of Port Cities and Global Waters (New York: Newgray, 2011).

Blind Spots: Connecting Nodal Points (Dublin: Printed Project: Circulation, 2009) pp.70-76.

Conversation with Ashley Hunt (New Orleans: Prospectus, October 2008).

Freirean Detours, in Homework (New York: Artwurl, 2007).

Introduction, De-sign catalogue (Colchester: University of Essex, 2006) pp. 8-10.

The Business Turn (New York: Constricted Breath, 2005).

Geyer, Andrea, Ashley Hunt, Maryam Jafri, Kara Lynch, Sharon Hayes, Ulrike Muller, Valerie Tevere, David Thorne and Alex Villar. Working: Conversations on Contemporary Art and Politics (New York: Artwurl, 2004).

Renberg, Oyvind; Arve Rod, Miho Shimizu and Alex Villar. A Conversation Around the Peanut Circuit, Danger Museum Diary #1 Stage #1 (Oslo: Online Printhouse, 2003).
Villar, Alex. Temporary Occupations, in ReMarx/Global Priority (Amherst: Routledge, 2003).

Freirean Detours, in Valdez: An Anthology of Revolutions: (New York: Valdez, 2002).
Villar, Alex. 9/12, in Radioactive (New York: White Box, 2002).
Other Ways and Temporary Occupations (Amherst: ReMarx, Vol. 14:3, Fall, 2002).

Self-portrait (New York: Tema Celeste, Nov-Dec, 2001) pp.72-73.

The Fourth Pie (New York: Valdez/Familia Valdez, 2000) pp.198-201.



Alex Villar, Minimal Displacements, Nasher Museum of Art, US

Hakan Topal and Alex Villar. Pasolini's Saló, Concluding Seminar, Art & Law, New York.

Minding the law: life, liberty, and the pursuit of art. ISCP, New York.

Normalizing Mechanisms Seminar, Art Law Program, New York.

Easterling, Keller, Vyjayanthi Rao, Alex Villar, Guven Incirlioglu, and Hakan Topal. The Sea-Image, Panel and Book Launch, Cabinet, New York.

Gielen, Pascal, Hakan Topal and Alex Villar. Mapping Community Arts: Subversion, Repressive Tolerance and Pastoral Power, Art in General, New York.

Biemann, Ursula & Shuruq A. M. Harb, TJ Demos, John Palmesino, Vyjayanthi Rao, Alex Villar, Relli De Vries. Sea of Marble: A Navigational Convergence, Sanat Limani, Istanbul.

Fischer, Berit, Rainer Ganahl, Ben Judd, Stephan Pascher and Alex Villar. City Beats: A Different Approach for the Urban, Dorsky Gallery, New York.
Hawke, John, Alex Villar, Nina Horisaki-Christens and Olympia Kazi. Actions for Urban Spaces, Art in General, New York.
Topal, Hakan and Alex Villar, Fortified Zones, International Studio & Curatorial Program, New York.

Bilal, Wafaa, Richard Fung, Holly Willis, Erica Cho, EMR, Felix Endara, Frederic Moffett, Camilo Ontiveros, Irina Contreras, Suzanne Oshinsky, Ashley Hunt, Frédéric Moffet and Amitis Motevalli, Irina Contreras, Eric Stanley, Chris Vargas, Jessica Lawless, Micol Hebron, Ismail Farouk, Grant Kester, Gina Lamb/REACH LA, Amitis Motevalli, Julia Meltzer and David Thorne, Jennifer Doyle, Maria A. Diaz and Alex Villar. Resolution 3: Video Praxis in Global Spaces, Pitzer College and Lace–Los Angeles Contemporary Exhibitions, Los Angeles.
Sheikh, Simon and Alex Villar, Action Diagrams, Iaspis, Stockholm.

Villar, Alex. de-tour, Iaspis, International Studio Program, Stockholm.

Villar, Alex et al. Multiple Records, Academy of Fine Arts/BildMuseet, Umea.

Deutsche, Rosalyn, Gregory Sholette, Emily Forman and Alex Villar. Tactics And Strategies for Interventionists, MASS MoCA, North Adams.
Jafri, Maryam, Simon Sheikh and Alex Villar. Tropes and Thresholds, Signal, Malmo.
Kroksnes, Andrea, Miho Shimizu, Oyvind Renberg and Alex Villar. Dialogical Encounters #1, UKS and Office for Contemporary Art, Oslo.
neuroTransmitter, Alex Villar and others, Drawing Center, New York.
Villar, Alex et al. Nyfa Stravaganza, Hunter College, New York.

Sheikh, Simon, Katya Sander, Knut Asdam and Alex Villar. Urban Practices: Speaking about Desire and Dissent, Apexart, New York.
Villar, Alex et al. The Representation of Power, the Power of Representation, Nifca, Helsinki.
Villar, Alex. Global Priority, exhibition panel, Amherst University, Amherst.
Villar, Alex. About Rudolf Baranik, Jersey City Museum, New Jersey.
Villar, Alex. Shortcuts, Galeria Arsenal, Bialystok.

Villar, Alex and others. New Views: World Financial Center Artist Residency and Exhibition, Panel, Cooper Union, New York.

Villar, Alex and others. Art Residences, Hunter College, New York.
Buchmmann, Sabeth, Simon Sheikh, Sally Gutierrez and Alex Villar, Not a Place, PRO-QM Bookstore, Berlin.

Villar, Alex and others. Collective Memory Symposium, Whitney ISP, New York.

Villar, Alex and others. Fairy-tale Symposium, Center for Metamedia, Plasy.



2016 Graduate Core: Studio Visits, MFA, New School, Spring, New York.
2015 Dissecting the Art Practice, MFA, New School, Fall, New York.
2015 Graduate Core: Studio Visits, MFA, New School, Spring, New York.
2014 Graduate Core: Group Critique, MFA, New School, Fall, New York.
2014 Graduate Core: Studio Visits, MFA, New School, Spring, New York.
2013 Quotidian Displacements, Cooper Union, New York.
2013 Quotidian Displacements, Dresden University of Fine Arts, Dresden.
2011 Collaborative Video Interface, Syracuse University, New York.
2010 Photography in Public Spaces, NYU Tisch School of the Arts, New York.
2008 Daily Alterations: A Workshop on the Performative Possibilities of Everyday Life, The Royal Academy for Fine Arts, Copenhagen.
2007 Individual Critiques, Art Academy, Oslo.
2006 Sculpture, Cooper Union, New York.
2005 City Encounters, Umea Academy of Fine Arts, New York.
2005 Wandering through the Public Sphere, CUNY Staten Island, New York.
2004 Critical Dialogues, Academy of Fine Arts, Umea.
2004 International Center of Photography, New York.
2002 Critiques and Lecture. University of Massachusetts, Amherst.
2002 Practical Seminar, Hunter College, New York.
1999 Photography Critique, Art Institute of Boston.


More Posts

Prev  Pasolini’s Saló, Art & Law Seminar

Next  Dissecting the Art Practice