Carlos Cuellar Brown

Venezuelan Performance Artist Carlos Cuellar Brown is a New York City time-based artist and essayist who has written on media art, social theory and metaphysics. His essays have been posted on Opendemocracy, The Global Dispatches, The Pelican Web, Kosmos Journal and In 2013 his essay “Intermedial Being” was published by A Journal of Performance and Art PAJ #106 MIT Press Journals. In 2015 He was nominated for the TWOTY awards out of the Netherlands for his essay “Blueprint for Change”. Brown is a regular columnist for Second Sight Magazine and currently blogs for In October of 2013, Carlos moderated from the Whitebox Gallery space in New York City, an international performative Google hangout panel discussion on consciousness and art for Performa 13. In January of 2014 he moderated an art and science panel in gallery Central Booking, New York. Carlos also curated 5 seasons of a virtual performance art space: “HoeskteenExtras” (2007-2012), streamed live via skype and youtube for De Hoeksteen live TV Amsterdam. In October of 2014 Carlos curated an artist media collective part of the Miami New Media Festival at the Chill Concept. For the 2015 Miami New Media Festival, Mr. Brown was guest artist with his performative installation “Halls of Power,” during this festival he curated Raul Marroquin's “Traffic and Meteo”. In October of 2015 he performed via periscope for BARCU Colombia his piece: “Perception Is Not Reality”. This February of 2016, live via Google HangOut, Carlos performed his piece “True Emotions” for the Low Tech Lab at the Saatchi Gallery in London.


Genre: Video Sculpture and Interactive 3-D Mapping Installation

This piece explores the relationships that happen inside power structures. Halls of Power uses iconic media footage and random social media appropriation montage along with live in your face surveillance. The performative engagement of a Security officer that screens viewers develops a complex 3-D media interactive experience that probes the issues of privacy and civil rights.