Claudia Bitran (1986) is a multidisciplinary artist who works primarily painting and video. She was born in Boston, spent most of her life in Santiago, Chile, and currently lives in Brooklyn. Bitran holds an MFA in Painting from Rhode Island School of Design (2013) and a BFA from the Universidad Catolica de Chile (2009).
She has exhibited individually at Muhlenberg College (2018-2019), Practice Gallery in Philadelphia (2018), at the Brooklyn Bridge Park in NY (2018), at Roswell Museum and Art Center in New Mexico (2017), and at Museo de Artes Visuales in Santiago Chile (2016). Bitran has participated in Group Exhibitions and Screenings at Smack Mellon Gallery in NY (2019), Cindy Rucker Gallery in NY (2019), Echo Park Film Center LA (2019), Experimental Video Art Film Festival at Tribeca Film Center in NY (2018), Galería Nemesio Antunez Chile (2018), LeRoy Neiman Gallery at Columbia University (2018), Anytime Dept Ohio (2017), Saha Hadid IMAX Theater New York (2017), Taipei Contemporary Art Center Taiwan (2017), The Parlour Bushwick Brooklyn (2016), Project 722 Brooklyn (2015), Museum of Contemporary Arts Quinta Normal Santiago (2011), at Matucana 100 Art space Santiago (2011), among others.
She has held residencies at the Skowhegan School of Painting and Sculpture in Maine (2014), the Bemis Center for Contemporary Arts in Nebraska (2014), the Roswell Artist-in-Residence Program in New Mexico (2016), Smack Mellon Studio Program in New York (2017), Outpost Projects in New York (2018) and will soon join Pioneer Works (march 2020). Grants and Awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant for Artists Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales, Museo de Bellas Artes, Santiago, Chile.
Bitran currently teaches in the Painting Departments at Pratt Institute and Rhode Island School of Design, and is an instructor at New York City Crit Club.
She has exhibited individually at Muhlenberg College (2018-2019), Practice Gallery in Philadelphia (2018), at the Brooklyn Bridge Park in NY (2018), at Roswell Museum and Art Center in New Mexico (2017), and at Museo de Artes Visuales in Santiago Chile (2016). Bitran has participated in Group Exhibitions and Screenings at Smack Mellon Gallery in NY (2019), Cindy Rucker Gallery in NY (2019), Echo Park Film Center LA (2019), Experimental Video Art Film Festival at Tribeca Film Center in NY (2018), Galería Nemesio Antunez Chile (2018), LeRoy Neiman Gallery at Columbia University (2018), Anytime Dept Ohio (2017), Saha Hadid IMAX Theater New York (2017), Taipei Contemporary Art Center Taiwan (2017), The Parlour Bushwick Brooklyn (2016), Project 722 Brooklyn (2015), Museum of Contemporary Arts Quinta Normal Santiago (2011), at Matucana 100 Art space Santiago (2011), among others.
She has held residencies at the Skowhegan School of Painting and Sculpture in Maine (2014), the Bemis Center for Contemporary Arts in Nebraska (2014), the Roswell Artist-in-Residence Program in New Mexico (2016), Smack Mellon Studio Program in New York (2017), Outpost Projects in New York (2018) and will soon join Pioneer Works (march 2020). Grants and Awards include: The New York Trust Van Lier Fellowship, Hammersley Grant, Emergency Grant for Artists Foundation for Contemporary Arts, Jerome Foundation Grant for Emerging Filmmakers, 1st Prize Britney Spears Dance Challenge, 1st Prize UFO McDonald’s Painting Competition, 1st honorable mention at Bienal de Artes Mediales, Museo de Bellas Artes, Santiago, Chile.
Bitran currently teaches in the Painting Departments at Pratt Institute and Rhode Island School of Design, and is an instructor at New York City Crit Club.
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In a “Do It Yourself” effort to emulate, remake and rewrite the hyperbolic world of pop production, I assume multiple roles (painter, director, producer, performer, editor). In my practice, the obsessive nature of the act of remaking is always accompanied by the examination of the component parts that are used to construct products of mass consumption. I reorganize these parts, remix them, change their harmonic compositions in order to question the power of entertainment and the manipulation that exists behind them. While that’s happening, I genuinely fantasize in the role of the fan and project myself (and the people around me) into these spectacles, frantically imagining how to reconstruct and introduce subjectivity into juxtaposition to the highly calculated systems of mass consumption.
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