About
(english)
Victoria Carrasco is a Chilean-Canadian curator of contemporary art and moving image, born in Montréal. From 2008 to 2025, she held curatorial, managerial, and leadership positions at PHI (formerly known as PHI Foundation for Contemporary Art), where she played a key role in shaping the institution’s visitor experience strategy, developing internal professional growth initiatives, curating exhibitions, and expanding audiences by creating new exhibition formats of time-based media and performances programs.
Her curatorial practice is grounded in research and centers on practices in contemporary art, developed through close collaboration with artists. Her institutional experience reinforces an expertise of exhibition-making and the dynamics between artwork, space, and audience—emphasizing accessibility, engagement, and critical reflection. She remains attuned to the social, cultural, and spatial contexts in which art is produced and experienced, and is committed to its critical and transformative potential that lives on after outside of the art gallery setting.
Carrasco curated REMEMBER, PERFORM, FORGET: Binding Space Through Utopia - with Kerstin Honeit, The Society of Affective Archives, and Rodolfo Andaur in 2023, co-curated with Cheryl Sim, the exhibition Larry Achiampong: Relic Traveller in 2022, the performance Dora García: Two Planets Have Been Colliding for Thousands of Years in 2021, and have worked with international, national and local artists in Montreal and organizations on the presentation of screenings and performances, moderated roundtables, and hosted artist talks and podcasts.
Carrasco holds an MA in Performance Curation from the Institute of Curatorial Practice in Performance (ICPP) at Wesleyan University, a BA in Environmental Design from the Université du Québec à Montréal (UQAM), and a BFA with a Concentration in Photography from Concordia University. In 2019, she was awarded the Ford Foundation ICPP Leadership Fellowship by Wesleyan University. She is also co-editor of the bi-annual publication TURBA: The Journal for Global Practices in Live Arts Curation and is on the Board of Directors of VIVA! Art Action and Centre des arts actuels SKOL.
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(french)
Née à Montréal, Victoria Carrasco est une commissaire canadienne d’origine chilienne. De 2008 à 2025, elle a occupé les postes de commissaire, de gestion et leadership à PHI (anciennement Fondation PHI pour l'art contemporain), où elle a joué un rôle clé dans l'élaboration de la stratégie d'expérience des visiteurs de l'institution, la création d'initiatives de développement professionnel interne, le commissariat d'expositions et l'élargissement des publics par le développement de nouveaux formats d'exposition de programmes de médias temporels et performances.
Sa pratique curatoriale est ancrée dans la recherche et se concentre sur les pratiques de l'art contemporain, développées en étroite collaboration avec des artistes. Son expérience institutionnelle renforce son expertise en réalisation d'expositions et la dynamique entre l'œuvre d'art, l'espace et le public, privilégiant l'accessibilité, l'engagement et la réflexion critique. Elle demeure à l'écoute des contextes sociaux, culturels et spatiaux dans lesquels l'art est produit et expérimenté, et s'attache à son potentiel critique et transformateur qui perdure au-delà du cadre des galeries d'art.
Carrasco a été commissaire de SE SOUVENIR, PERFORMER, OUBLIER: relier l’espace par l’utopie - avec Kerstin Honeit, La Société des archives affectives (Fiona Annis and Véronique La Perrière M) et Rodolfo Andaur en 2023, co-commissaire avec Cheryl Sim de l'exposition Larry Achiampong: L’explorateur de reliques en 2022 et de la performance Dora García: Two Planets Have Been Colliding for Thousands of Years en 2021. Elle a également collaboré avec des artistes et des organismes internationaux, nationaux et locaux à Montréal pour la présentation de projections et de performances, animé des tables rondes et animé des conférences et des balados.
Elle est titulaire d’une maîtrise en commissariat de la performance de l’Institute of Curatorial Practice in Performance (ICPP) de l'Université Wesleyan, d’un baccalauréat en design de l’environnement de l’Université du Québec à Montréal (UQÀM) et d’un baccalauréat en beaux-arts avec concentration en photographie de l’Université Concordia. En 2019, l’Université Wesleyan lui a décerné la bourse de Leadership ICPP de la Fondation Ford. Elle est également co-éditrice de la publication semestrielle TURBA: The Journal for Global Practices in Live Arts Curation et siège au conseil d'administration de VIVA! Art Action et du Centre des arts actuels SKOL.
Severing the Impact on Memory
Patricia Domínguez, Jean-Jacques Martinod, Lynne Sachs and Barbara Hammer
Online video program, June 19 - 26, 2021, PHI Foundation.
Jean-Jacques Martinod, La Bala de Sandoval, 2019, 17 min 10 sec. Spanish, English subtitles. Production still
Through processes of reimagination, preservation and transformation, memory allows us to narrate reality and a fictionalized memory, to look into the past, the feeling of belonging, and death. This video program explores the memory of what makes life tangible, and considers how both the body and nature experience, measure and translate the impact of change. This program includes videos by Patricia Domínguez, Jean-Jacques Martinod, and Lynne Sachs and Barbara Hammer.
A podcast in conversation with Patricia Domínguez, Jean-Jacques Martinod and Lynne Sachs was launched in complement to the online video program.
This program was conceived and presented at PHI (formerly known as PHI Foundation), in conjunction with the exhibition Lee Bae: UNION, from February 24 to June 20, 2021.
Program
• La Bala de Sandoval (Jean-Jacques Martinod, 2019, 17 min 10 sec, Spanish, English subtitles)
• A Month of Single Frames (Lynne Sachs and Barbara Hammer, 2019, 14 min, English)
• La balada de las sirenas secas (The Ballad of the Dry Mermaids) (Patricia Domínguez, 2020, 31 min 39 sec, Spanish, English subtitles)
La balada de las sirenas secas (The Ballad of the Dry Mermaids) by Patricia Domínguez was commissioned by TBA21 for st_age.
Podcast
https://soundcloud.com/phi_ca/severing-the-impact-on-memory-conversation-with-the-artists?utm_source=phi.ca&utm_campaign=wtshare&utm_medium=widget&utm_content=https%253A%252F%252Fsoundcloud.com%252Fphi_ca%252Fsevering-the-impact-on-memory-conversation-with-the-artists
Synopses
A Month of Single Frames
Lynne Sachs and Barbara Hammer, 2019
In 1998, filmmaker Barbara Hammer had an artist residency in a shack without running water or electricity. While there, she shot film, recorded sounds and kept a journal. In 2018, Barbara began her own process of dying by revisiting her personal archive. She gave all of her images, sounds and writing from the residency to filmmaker Lynne Sachs and invited her to make a film with the material. Through her own filmmaking, Lynne explores Barbara’s experience of solitude. She places text on the screen as a confrontation with a somatic cinema that brings us all together in multiple spaces and times.
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La Bala de Sandoval
Jean-Jacques Martinod, 2019
Isidro meanders through the rainforest while he and his brother remember the times he found himself face to face with death itself.
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La balada de las sirenas secas (The Ballad of the Dry Mermaids)
Patricia Domínguez, 2020
For La balada de las sirenas secas (The Ballad of the Dry Mermaids), Patricia Domínguez collaborated with Las Viudas del Agua, a group of water defenders, educators and herbalists who are devoting their lives to the fight for liberating the water resources within their communities in Petorca, Chile. The Ballad of the Dry Mermaids examines the complex flows of water in terms of the possibilities for crying, actualizing memory in the digital era and creating multi-species myths of resistance in the capitalist system.
Biographies
Patricia Domínguez
Bringing together experimental research on ethnobotany, healing practices, and the corporatization of wellbeing, the work of Patricia Domínguez (b. 1984, Santiago, Chile) focuses on how neoliberalism perpetuates colonial practices of extraction and exploitation.
Recent solo exhibitions include Madre Drone, CentroCentro, Madrid, and Cosmic Tears, Yeh Art Gallery, New York (both 2020); Green Irises, Gasworks, London (2019); Llanto Cósmico, Twin Gallery, Madrid (2018); Eres un Princeso, Pizzuti Collection, Columbus, Ohio; Los ojos serán lo último en pixelarse, Galería Patricia Ready, Santiago; and Focus Latinoamérica, ARCOMadrid, Madrid (all 2016). Recent group exhibitions include Gwangju Biennale, Korea; Transmediale, Berlin (both 2021); MOMENTA | Biennale de l’image, Montreal; The trouble is staying, Meet Factory, Prague (both 2019); What is going to happen is not ‘the future’, but what we are going to do, ARCOMadrid; Working for the Future Past, SEMA, Seoul (both 2018).
She has recently been the recipient of the SIMETRIA prize to participate in a residency at CERN, Switzerland (2021), among others. Her work has appeared in books such as Younger than Jesus: Artist Directory (New Museum/Phaidon Press, 2009); Health (MIT Press/Whitechapel: Documents of Contemporary Art, 2020), Technics Improvised: Activating Touch in Global Media Art University of Minnesota Press and Contemporary Art and Climate Change, Thames & Hudson's World of Art series (both 2021). Her studies include a Master’s Degree in Studio Art from Hunter College, New York (2013) and a Botanical Art & Illustration Certificate from the New York Botanical Garden (2011). She is currently director of the ethnobotanical platform Studio Vegetalista.
Jean-Jacques Martinod
Jean-Jacques Martinod is an Ecuadorian-American filmmaker and multimedia artist originally from the city of Guayaquil. His works oscillate between modalities of hybrid cinemas using methodologies that experiment with archival materials, celluloid film, analog tape, digital media, synesthetic operations, personal mythologies and travelogues, in bifurcations that stand out among the ramifications of the aforementioned. His work has been exhibited at the Cinemateca Nacional del Ecuador Ulises Estrella, the Los Angeles Center for Digital Arts, the Museum of the Moving Image in New York, and festivals that include FIDMarseille, International Film Festival Rotterdam, Images Festival, Alchemy Film & Moving Image Festival, European Media Arts Festival, Les Inattendus film festival (très) indépendants, Sheffield Doc/Fest, ULTRACinema Experimental Festival de Cine Experimental y Found Footage, among others, as well as galleries, cultural centers, and clandestine DIY screenings. He is also co-founder of EVIDENCE, a micro-publishing project that releases radical poetry, visual arts, photography, and also para-essayistic works within the world of avant-garde cinema. He received his MFA from Concordia University in Montreal where he was a member of the Global Emergent Media Lab, Fabrique-mondes and the Centre for Expanded Poetics.
Lynne Sachs
Between 1994 and 2006, Lynne produced five essay films that took her to Vietnam, Bosnia, Israel, Italy and Germany—sites affected by international war–where she looked at the space between a community’s collective memory and her own subjective perceptions. Witnessing the world through a feminist lens, she expresses intimacy by the way she uses her camera. With the making of Your Day is My Night (2013) and The Washing Society (2018), she expanded her practice to include live performance. As of 2020, she has made 37 films. The Buenos Aires International Festival of Independent Cinema, Festival International Nuevo Cine in Havana, China Women’s Film Festival and Sheffield Doc/Fest have all presented retrospectives of her work. She received a 2014 Guggenheim Fellowship in the Creative Arts. Tender Buttons Press published her first book Year by Year Poems in 2019. On the occasion of the 2021 virtual theater release of her latest feature, Film About a Father Who, a kaleidoscopic portrait of the artist's maddeningly mercurial father, the Museum of the Moving Image presented a career-ranging survey of Lynne's work. Lynne lives in Brooklyn with her husband filmmaker Mark Street. Together, they have two daughters, Maya and Noa Street-Sachs. lynnesachs.com