Claudia Bitran (U.S.A.-Chile 1986) works primarily through painting and video. Bitran holds an MFA in Painting from Rhode Island School of Design (2013), a BFA from the Universidad Catolica de Chile (2009) and is currently an artist in residence at Pioneer Works, New York.
She has exhibited individually at Walter Storms Galerie in Munich (2020-2021), Spring Break Art Show in NY (2020), Muhlenberg College Gallery (2018-2019) and Practice Gallery in PA (2018), 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 Cristin Tierney Gallery (2020), Postmasters Gallery (2020), Essex Flowers (2020), Cindy Rucker Gallery in NY (2019), Echo Park Film Center LA (2019), Tribeca Film Center in NY (2018), 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 Skowhegan School of Painting and Sculpture (2014), Bemis Center for Contemporary Arts (2014), Roswell Artist-in-Residence Program (2016), Smack Mellon Studio Program (2017), Outpost Projects (2018), Pioneer Works (2020-2021). 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 lives and works in Brooklyn, and teaches in the Painting Departments at Rhode Island School of Design in and Pratt Institute and is a guest critic at NYC Crit Club in NY and at SIA in Beijing.
She has exhibited individually at Walter Storms Galerie in Munich (2020-2021), Spring Break Art Show in NY (2020), Muhlenberg College Gallery (2018-2019) and Practice Gallery in PA (2018), 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 Cristin Tierney Gallery (2020), Postmasters Gallery (2020), Essex Flowers (2020), Cindy Rucker Gallery in NY (2019), Echo Park Film Center LA (2019), Tribeca Film Center in NY (2018), 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 Skowhegan School of Painting and Sculpture (2014), Bemis Center for Contemporary Arts (2014), Roswell Artist-in-Residence Program (2016), Smack Mellon Studio Program (2017), Outpost Projects (2018), Pioneer Works (2020-2021). 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 lives and works in Brooklyn, and teaches in the Painting Departments at Rhode Island School of Design in and Pratt Institute and is a guest critic at NYC Crit Club in NY and at SIA in Beijing.
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In a “Do It Yourself” effort to re-present 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 re-writing 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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