(b. London, England, 1978; lives in Los Angeles)
Carolina Caycedo responds to the effects of global capitalism with a practice rooted in processes of communication, movement, and exchange. Her varied projects - from street actions and itinerant markets to public marches - all germinate in dialogues with communities outside of the art world, and her works invariably refer back to the culture and economy of the street. For Caycedo, the site of artistic experience extends beyond the studio or the exhibition space into the wider world in which the artist lives and moves. Additionally, she considers her audience to be not just the typical museum- or gallery-goer but anyone she may encounter in daily life. The result is an art that consists in the creation not of objects for passive aesthetic contemplation but of opportunities for cooperation and conversation among a broad array of individuals and communities.
Carolina Caycedo's work persistently discusses boundaries: boundaries between producers and consumers, professionals and amateurs, profit and disadvantage, between art and society. Caycedo infiltrates the most diverse contexts, making use of the liberties ascribed to art: dependent on the benevolent interest of her counterparts and their willingness to interact, she invites them to join her in breaking out of the habit of always wanting something better, bigger, more expensive. What is consequently exchanged are not only commodities and services, but most of all ideas about a society less dependent on economic constraints - and the role that art can assume in this society.
Her most recent exhibitions include: Daytoday Closure: Impossible exchanges. Frieze Projects. London, UK, (2009); Ni Dios Ni Patron Ni Marido. La Central. Bogotá, Colombia, (2009); Daytoday in LA. G727. Los Angeles, US, (2009).
(text by Gary Carrion-Murayari, text in Whitney Biennial 2006 catalog and Mathias Herman in catalogue of day-today. Secession. Wien, 2002.)
In this 2011 interview, curator Bill Kelley Jr speaks to Caycedo about her interest in bartering systems of negotiations and her work in public spaces in Europe, Los Angeles, and her native Colombia.