Born in Madrid, Spain, 1961
Lives in Chicago, Illinois
1989 M.F.A. Sculpture, the School of the Art Institute of Chicago, Chicago, IL
1983 BA. Art and Art History, B.A. in Latin american and Spanish Literature, Williams college, Williamstown, MA
Awards and Fellowships
2001 John D. and Catherine T. MacArthur Foundation Fellow
1997-2001 Media Arts Award, Wexner Center for the Arts, Columbus, OH.
1998-2000 Media Arts Residency, Henry Art Gallery, University of Washington, Seattle.
1997 ArtPace Fdn. International Artist Residency Fellowship, San antonio, TX
1995 National Endowment for the Arts Visual Artist Fellowship
1995 Orion Fellow, University of Victoria, British Columbia, Canada
1995 Great Cities Fellowship, College Urban Planning, University of Illinois at Chicago, IL
1994 Neighborhood Arts Program Grant, City of Chicago Dept. of Cultural Affairs, IL
1992 Illinois Arts Council Artist Fellowship Award
2003 Purgatory, Max Protetch Gallery, New York
2002 Barcelona pavilion, Mies van der Rohe Foundation, Barcelona
2001 Cranbrook Art Museum, Bloomfield Hills, MI. Curated by Irene Hoffman.
Traveling to Rose Art Museum, Waltham, MA; Cleveland Center for Contemporary Art, cleveland, OH; Orange County Museum of Art, Newport Beach, CA; and Palm Beach Institute of Contemporary Art, Lake Worth, FL
2000 Climate, Max Protetch Gallery, New York
Clock, Wexner Center for the Arts, Columbus, OH
Banks in Pink and Blue, Henry Art Gallery, University of Washington, Seattle
1999 Le Baiser, Institute of Visual Arts, University of Wisconsin, Milwaukee, WI
Sonambulo II (Blue) Semi-Permanent Sity-Specific Installation, Chicago Art Institute, Chicago, IL
1998 Garden of Delights, South Eastern Center for Contemporary Arts, Winston-Salem, NC
Inigo Manglano-Ovalle, Max Protetch Gallery, New York, NY
The El NiÒo Effect, Christopher Grimes Gallery, Santa Monica, CA
1997 Game of Jacks, Instituto Cultoral CabaÒas Museum, Guadalajara, Mexico
The El NiÒo Effect, ArtPace Foundation Contemporary Art, San Antonio, TX
Woofer, Contemporary Arts Center, Cincinnati, OH
Woofer, Galerie Froment & Putman, Paris, France
Balsero, Museum of Contemporary Art, Chicago, IL
Flora and Fauna, Rhona Hoffman Gallery, Chicago, IL
1996Bouquet (from the Bloom series), Real Art Ways, Hartford, CT
IÒigo Manglano-Ovalle, Andrea Rosen Gallery, NY
1995 IÒigo Manglano-Ovalle, Feigen Inc., Chicago, IL
1994 Balsero, Thomas Blackman Associates, Chicago, IL
Torch, installation, IMAGE Film and Video Center, Atlanta, GA
1993 Cul-De-Sac: A Street-Level Video Installation, Museum of Contemporary Art, Chicago, IL
Tele-vecindario: A Street-Level Video Block Party ‘Culture in Action: A Public Art Program by Sculpture-Chicago’, curated by Mary Jane Jacob, Chicago, IL
1992 Aliens who…, New Langton Arts, San Francisco, CA
1991 Assigned Identities, Centre Gallery, Miami-Dade college, Miami, FL
1989 Gallery (in-ste’lashen), n., Gallery 2, Chicago, IL
2002 Tempo, Museum of Modern Art QNS, Long Island City, NY
Moving Pictures, Guggenheim Museum, New York
gene(sis): Contemporary Art Explores Human Genomics, Henry Art Gallery, Seattle, WA
2001 Mies in America, Whitney Museum of American Art, New York, NY.
Traveling to Canadian Center for Architecture, Montreal, Canada; Museum of Contemporary Art, Chicago, IL. Curated by Phyllis Lambert.
What’s New: Recent Acquisitions in Photography, Whitney Museum of American Art, New York
Search, a site-specific project commissioned by InSITE 2000, San Diego, CA
and Tijuana, Mexico. Curated by Ivo Mesquita, Osvaldo Sanchez, Sally Yard
and Susan Buck-Morris. Presented by Installation Gallery, San Diego, CA
and Instituto Nacional de Bellas ARtes, Mexico City, Mexico
Yuri at Schindler, included in an exhibition at the Schindler House, MAK Center for Art and Architecture, Los Angeles, CA. Curated by Daniela
Zyman, Austrian Museum of Applied Arts, Vienna, Austria.
Empathy: Beyond the Horizon, Pori Art Museum, Pori, Finland
2000 Ultra Baroque: Aspects of post Latin American Art, Museum of Contemporary Art, San Diego, CA. Travels to Modern Art Museum of Fort
Worth, TX; San Francisco Museum of Modern Art, San Francisco, CA; Art Gallery of Ontario, Toronto, Canada; Miami Art Museum, Miami, FL; Walker Art Center, Minneapolis, MN
Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago IL
Unnatural Science, Massachusetts Musueum of Contemporary Art, North Adams MA
Biennial 2K, Whitney Museum of American Art, New York, NY
Things We Don’t Understand, Generali Foundation, Vienna, Austria
INSITE 2000, INSITE, San Diego, CA and Tijuana Mexico
Interventions, Milwaukee Art Museum, Milwaukee, WI
Eiszeit (Ice Age), KunstMuseum, Bern, Switzerland
1999 Best of the Season: Selected Work from the 1998-99 Gallery Season, Aldrich Museum of Art, Aldrich, CT.
Searchlight: Consciousness at the MillenniumCalifornia College of Art and Crafts, San Francisco, CA
As Above, So Below: The Body’s Equal Parts, Fabric Workshop and Museum, Philadelphia, PA
ARCO, International Artist Project Room, ARCO, Madrid, Spain.
The Self, Absorbed, Bellevue Art Museum, Bellevue, WA
Amnesia, The contemporary Arts Center, Cincinnati, OH, Biblioteca Luis Angel Arango, Bogota, Columbia, and The BronxMuseum of Fine Arts, Bronx, NY
digital SitesNumark Gallery, Washington, DC.
TransmuteMuseum of Contemporary Art, Chicago, IL
NiÒos de la calle (Street Kids), Museo Alejandro Otero, Caracas, Venezuela
1998 Amnesia, Christopher Grimes Gallery and Track 16 Gallery, Santa Monica, CA
XXIV Bienal Internacional de Sao Paulo, Sao Paulo, Brazil.
Contemporary Art Collections, Arizona State University Art Museum, Nelson Fine Arts Center, Phoenix, AZ
Hip, Rocket Gallery, London
Then and Now, Terrain Gallery, San Francisco, CA
1997 Recent Acquisitions, The Bohen Foundation, New York, NY
1996 Human Technology, Revolution, Detroit, MI
Art in Chicago 1945-1995, Museum of Contemporary Art, Chicago, IL
Video Sans Titre, Galerie Froment & Putman, Paris, France
Selections from the Moral Imagination, Plug In, Winnipeg, Canada
Second Sight: Printmaking in Chicago 1935-1995, Block Gallery, Northwestern University, Evanston, IL
Elbow Room, Art Chicago 1996, Chicago, IL
Dark Planet, Terrain, San Francisco, CA
Untitled, Gallery 312, Chicago, IL
Push Pause, Randolph Street Gallery, Chicago, IL
Miami Warehouse Project, Miami, FL
1995 New Works II, Feigen, Inc., Chicago, IL
Radius, Radius Group, Chicago, IL
Correspondences/Korrespondenzen, Chicago Cultural Center, Chicago, IL
Cultural Connections: Explorations of Cultural Identity, Spaces, Cleveland, OH
Xicano Progeny: Redefining the Aesthetic – Toward a New Vision of American Culture, The Mexican Museum, San Francisco, CA
1994 latin American Art in Miami Collections, Lowe Art Museum, University of miami, FL
Correspondences/Korrespondenzen, Berlinische Galerie Museum fur Moderne Kunst, Berlin, Germany
Urban Masculinity, Real Art Ways Hartford, CT
Changing ViewsFeigen, Inc., Chicago, IL
1993 Urban Masculinity, Longwood Arts Gallery, Bronx, NY
The Year of the White Bear, organized by Guillermo Gomez-PeÒa and Coco Fusco, Otis Gallery, Los Angeles, CA
Mixed Messages: A Survey of Recent Chicago Art, Forum Center for Contemporary ARt, St. Louis, MO
What you wear, wher you wear it. Are you a prisoner of fashion?, ‘Billboard Project’ Commissioned by Universtiy of Illinois at Chicago, IL
New Works: Group Show, Feigen Gallery, Chicago, IL
1992 The Year of the White Bear, organized by Guillermo Gomez-PeÒa and coco Fusco, Mexican Fine Arts Center and Museum, Chicago, IL.
Artist’s Auction, New Langton Arts, San Francisco, CA
Divided Colors, ‘Billboard Project,’ Commissioned by University of Illinois at Chicago, IL
Tele-Mundo, Terrain Gallery, San Francisco, CA
Bookmarks, Northern Illinois University Art Gallery, curated by White Walls: a Journal of Language and Art, Chicago, IL
The Year of the Whit Bear, organized by Guillermo Gomez-PeÒa and coco Fusco, Walker Arts Center, Minneapolis, MN
Choice Work: Group Show, Roy Boyd Gallery, Chicago, IL
Los Encuentros, Betty Reimer Gallery, School of the Art Institute of Chicago, IL
From Americas Studio: Drawing New Conclusions, Curated by James Yood, Betty Reimer Gallery, School of the Art Institute of Chicago, IL
Multiples, Randolph Street Gallery, Chicago, IL
Misadventures, Curated by Dan Peterman, University of Wisconsin, Eauclaire, WI
Disorient: Perspectives on Colonialism, Curated by Doug Ischar and Silvia Malagrino, Gallery 400, University of Illiinois at Chicago, IL
Abbe, Mary. ‘Poor Columbus!’ Minneapolis Star Tribune(October 1, 1992): E1.
Armstrong, Elizabeth. ‘Impure Beauty,’ in Ultra Baroque, Aspects of Post
Latin American Art, 9-10. San Diego: Museum of Contemporary Art San Diego, 2001.
Arning, Bill. ‘Sao Paulo Bienal.’ World Art, issue 20 (January 1999): 72-74.
Artner, Alan. ‘Sharp conceptual show dares to be different.’ Chicago
Tribune (January 22, 1993): sec.7,p.56.
_____. ‘Context.’ Chicago Tribune (January 12, 1996): sec.7, p.47.
_____. ’12 artist go to heart of Hispanic culture.’ Chicago Tribune(May 24, 1991): sec.7, p. 68.
Baker, Kenneth. ‘Politics of Identity.’ San Francisco Chronicle (May 16, 1995): E1,3.
Barkert, Lynda. ‘Latino/a Artists at the Cultural Center.’ Chicago Artists’ News, vol. 17, no. 8 (June 1991).
Bedoya, Roberto. ‘Ethical Identity.’ Frane-Work, vol.8, no. 1 (1996): 30-31,33.
Betsky, Aaron. ‘The New Boxsters.’ Architecture, vol. 89, no. 7 (July 2000): 83-89.
Birbragher, Francine. Art Nexus, no. 22 (December 1996): 130-131.
Bonetti, David. San Francisco Examiner(April 28, 1995): C17.
Brenson, Michael. ‘Healing in Time.’ In Culture in Action, 16-49. Seattle: Bay Press Inc., 1995.
Buergel, Roger M. and Ruth Noack ‘Das Erzahlbild/Narrative Image,’ In Dinge, Die Wir Nicht Verstehen (Things We Don’t Understand),51-86. Vienna,
Austria: Generali Foundation, 1999.
Buttner, Claudia and Zeyn, Martin. ‘Gesten mit Konsequenzen.’ KULTUR – die tageszeitung(November 13, 1993): 19.
Camper, Fred. ‘Human Nature.’ Chicago Reader (July 15, 1994): 24-25.
Cameron, Dan. ‘Culture in Action.’ Flash Art, vol. 26, no. 173 (November/December 1993).
Camps, Toby Lateral Thinking, Art of the 1990s, Museum of Contemporary Art San Diego, 2002:20,130.
Cantor, Judy. ‘Collective Experience.’ New Times, Miami (January 26, 1995):sec.9,p. 41.
Clearwater, Bonnie. ‘Studio Visit.’ Trans, vol.1, issues 3/4 (1997).
Cone, Michele C. Art News, vol.99, no. 6 (June 2000).
Cooke, Lynne. ‘IÒigo Manglano-Ovalle: The El NiÒo Effect.’ In Inigo Manglano-Ovalle 97.4. San Antonio: ArtPace, Foundation for Contemporary Art, 1997.
Correa, Armando. El Nuevo Herald, Miami (May 31, 1996): 1A.
_____. El Nuevo herald, Miami (June1, 1996): 10A.
Corrin, Lisa. ‘Culture is Action: Action is Chicago.’ Sculpture, vol. 13, no. 2 (March-April, 1994):30. Sangster, Gary.Cotter, Holland. ‘IÒigo Manglano-Ovalle.’ The New York Times (April 21, 2000).
Cullen, Catherine. Review. Art papers, vol. 24, no.4 (July/August 2000): 39-40.
DeBartolo, Anthony. ‘Art of the Streets.’ Chicago Tribune (August 31, 1993): sec.1.
Ellison, Victoria. ‘Life Potential: Gallery of Laboratory?’ Seattle Weekly(February 17, 2000)
Fox, catherine. The Atlanta Journal/The Atlanta Constitution (September 19, 1994): B4.
Fredericksen, Eric. ‘Obscure Objects of Desire.’ The Stranger, Seattle WA (january 27, 2000).
Gamble, Allison. ‘Reframing a Movement.’ New Art Examiner, vol. 21, no. 5 (December, 1993): 18.
Golson, nancy. ‘Creative ‘Clock’ installation tells timeless truths,’ The Columbus Dispatch (January 2, 2000): G1.
Gomez-PeÒa, Guillermo. ‘New World (B)order.’ High Performance, no. 58/59 (Summer/Fall 1992): 60.
Grundberg, Andy ‘A Medium No More (Or Less): Photography and the Transformation of Contemporary Art.’ In Visions from America, Photographs from the Whitney Museum of American Art, Prestel, Whitney Museum of Art, New York, 2002: 46, 226.
Hackson Colby, Joy ‘We can Humanize technology…’ Detroit News (April11, 1996).
Heartney, Eleanor ‘Culture in Action at Various Sites.’ Art in America (November 1993): 136-137.
_____. ‘Public Art in Action.’ Art in America (June 1995): 33.
Helfand, Glenn. ‘Aliens at Home: Twin installation at New Langton probe American myths of culture and identity.’ SF Weekly (May 6, 1992).
_____. ‘The Offspring’ S.F. Weekly, vol. 14, no.12 (May 3, 1995): 37.
Helguera, Pablo. ‘La Intrusion de la technologia en el ser.’ Exito! (December 28, 1995): 10.
Herkenhoff, Paulo ‘A Tempo Lexicon,’ In Tempo, Distributed Art Publishers, Inc, New York, 2002: 8, 15, 47.
Hixson, Kathryn. ‘In the heart of the country.’ ARTS Magazine (September, 1991): 89.
Hoffman, Irene ‘In the Presence of Mies.’ In IÒigo Manglan-Ovalle Cranbrook Art Museum, 2001: 6-7.
Horsefield, Kate. ‘Towards a History of Chicago Video.’ In Art in Chicago 1945-1995, 128. Chicago: Museum of Contemporary Art, 1996.
Isaacs, Deanna. ‘Art People: IÒigo Manglano-Ovalle’s Multicultrual Punch.’ Chicago Reader, vol. 21, no. 49 (September 11, 1992): 7.
Ischar, Doug. ‘IÒigo Manglano-Ovalle.’ In Korrespondenzen/Correspondences, 86-91. Berlin: Berlinische Galerie Museum fur Moderne Kunst, 1994.
Ise, Claudine. ‘Confinement and Solitude: Feeling the El NiÒo Effect,’ Los Angeles times (May 1, 1998): F47.
Jocob, Mary Jane. ‘Outside the Loop,’ and ‘Tele-Vecindario.’ In Culture in Action, 50-61, 76-87. Seattle: Bay Press Inc., 1995.
Kane, Mitchell. New Art Examiner (February 1996): 43.
Kaplan, Cheryl. ‘IÒigo manglano-Ovalle.’ BOMB, no. 72 (Summer 2000): 96-99.
Killam, Brad. ‘IÒigo Manglano-Ovalle at Feigen, Inc.’ Art Muscle, vol. 10, no. 4 (April/May 1996): 43.
_____. ‘A New Whitney Team makes Its Biennial Pitch.’ New York Times (March 24, 2000): E31.
Kirshner, Judith Russi. ‘Resisting Regionalism.’ In Art in Chicago
1945-1995, 139-141. Chicago: Museum of Contemporary Art, 1996.
_____.’Street-Level Video Block Party.’ Artforum, vol. 32, no. 4, (January 1994): 86.
_____.’Lost in Berlin.’ In Korrespondenzen/correspondences, 42-44. Berlin: Berlinische Galerie Museum fur Moderne Kunst, 1994.
Kohen, Helen L. ‘Exhibition defies Latin Art Stereotypes.’ The Miami Herald(December 10, 1994): G1, 5.
Krantz, Claire Wolf. ‘In the heart of the country/En el corazon del pais.’
New Art Examiner (September 1991).
Kuhn, Nicola. ‘Korrespondenzen.’ Der Tages Spiegel, Berlin (November 20, 1995): 25.
Kwon, Miwon. ‘Im Interese der Offentlichkeit…’ Springer, Vienna, vol. 2, no. 4 (December 1996 – February 1997): 30-35.
_____. ‘For Hamburg: Public Art and Urban Identities.’ In Kunst auf Schritt und Tritt, edited by Christian Phillip Muller, 95. Hamburg: Kulturbehorde, 1997.
_____. One Place After Another, Site-Specific Art and Locational Identity, The MIT Press, Cambridge Massachusetts, 2002: 102, 133, 130, 132-135, 146, 150, 153, 200-201
Levin, Jordan. ‘Piercing the Velvet Curtain.’ Inside Arts, vol. 3, no. 4 (December, 1991): 28.
Levin, Kim. The Village Voice (April 11, 2000): 96.
Lloyd, ann Wilson. ‘What I Saw at the Whitney.’ Provincetown Arts, vol. 15 (2000.01).
Moreno, Gean. ‘IÒigo Manglano-Ovalle and the Politics of Pleasure.’ New Art Examiner (September 2000): 22-25, 46.
_____. ‘The Politics of Pleasure,’ In IÒigo Manglano-Ovalle, 33-39.
Madrid, Spain: Galeria Soledad Lorenzo, 2001.
Muschamp, Herbert. ‘Design vs. Environment: Architects Debate.’ New York Times (June 23, 1993): B1.
Ngo, Dung, and Adi Shamir Zion Open House: Unbound Space and the Modern Dwelling, Rizzoli International Publications, New York, NY 2002: 115, 116-17.
Novakov, Anna ‘Nowhere to Hide,’ In Inigo Manglano-Ovalle, 52-57. Bloomfield Hills, MI: Cranbrook Art Museum, 2001.
Owen, McNally. ‘Beauty, Monstrosity of Violence…’ Hartford Journal (July 21, 1996): G1, 7.
Patner, Andrew. ‘Pier Takes a Turn.’ Chicago Sun-Times (May 13, 1996): 34.
Palmer, Laurie. Frieze, 27, (March – April 1996): 71.
Paradise Now: Picturing the Genetic Revolution, 76-77. Saratoga Springs, New York: The Tang Teaching Museum and Art Gallery at Skidmore College, 2000.
Pincus, Robert L. ‘Substantial Slapstick,’ The San Diego Union-Tribune (September 19, 1993): E8.
Pollack, Barbara. ‘The Genetic Esthetic.’ Artnews, vol. 99, no. 4 (April 2000): 134-136.
Protetch, Max. A New World Trade Center, Design Proposals from Leading Architects Worldwide, Regan Books, Harper Collins, New York, 2002: 92, 93.
Quinones, Paul. flash Art, vol. 33, no. 213 (Summer 2000): 113.
Rascon, Armando. ‘Xicano Progeny: Investigative Agents, Executive Council and Other Representatives from the Sovereign State of Aztlan.’ (San Francisco: The Mexican Museum, 1995): 15, 33-35.
Rose, Cynthia. ‘Banks in Pink and Blue’: A New Look and DNA.’ The Seattle Times (January 21, 2000).
Rosoff, Patricia. ‘Dead on Target.’ Hartford Advocate(August 15, 1996).
Rush, Michael. ‘Transparent Scenarios.’ Art in America (October 2000): 134-137.
_____. ‘Interview with Inigo Manglano-Ovalle,’ In IÒigo Manglano-Ovalle, Cranbrook Art Musueum, 2001: 58-61.
Saltz, Jerry. ‘My Sixth Sense.’ The Village Voice (April 4, 2000): 69.
Scanlon, Joseph. ‘sculpture Chicago’s Culture in Action.’ Frieze (November/December 1993): 22-27.
Sherlock, Maureen. ‘Shadow Dancing: The Work of Inigo Manglano-Ovalle.’ In Inigo manglao-Ovalle: the Garden of Delights, edited by Sheila Schwartz, 23-26. Winston-Salem: South Eastern Center for Contemporary Art, 1998.
_____. ‘The Year of the White Bear.’ Art Papers, vol. 18, no. 3 (May/June 1994): 31, 36-37.
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_____. ‘Culture in Action.’ Art Papers, vol. 17, no. 6. (November/December 1993): 7-11.
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Stoops, Susan. Mask or Mirror, A Play of Portraits, Worcester Art Museum, Worcester, Massachusetts, 2002: 35-7.
Van matre, Lynn. ‘Carving a Niche.’ Chicago Tribune (June 3, 1993): C1.
Voboril, Mary. ‘Beyond labels.’ Miami Herald (April 16, 1991): C1.
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Warren, Lynne, and Staci Boris. ‘Chicago City of Neighborhoods.’ In Art In Chicago 1945-1995, 92. Chicago: Museum of Contemporary Art, 1996.
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Williams, Kevin M. ‘MCA’s Windfall: Sara Lee gift is paying off.’ Chicago Sunday Times (2000).
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Yood, James. ‘Sighting/Citing the Site.’ In Second Sight: Printmaking in Chicago 1935-1995, 31, 41, 161. Evanston, IL: Leigh Block Gallery, Northwestern University, 1996.
Zamudio Taylor, Victor. ‘Where is the Bleeding Heart?’ Atlantica, Gran Palma, Spain, no. 15 (Spring 1997): 82-91.
_____. Art Nexus, no. 22 (December 1996): 152-154.
The Bohen Foundation, New York, NY
The Solomon R. Guggenheim Foundation, New York, NY
The MacArthur Foundation, Chicago, IL
The Whitney Museum of American Art, New York, NY
The Art Institute of Chicago, Chicago, IL
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art, San Diego, CA
ArtPace, San Antonio, TX
Metropolitan Bank and Trust Collection, Highland Hills, OH
The Refco Collection, Chicago, IL
The Linc Collection, Chicago, IL
Fundacion Cisneros, Caracas, Venezuela;