1.I met Alexander Gerdel, sometime in the mid-’90s in a couple of
exhibitions we were both in as young Venezuelan artists. Our relationship became closer when he exhibited several times in a space I used to run in Caracas called Local.
2. Alexander usually brings to exhibition spaces situations that are left unseen, for example, references to construction sites or plumbing
structures. These artifacts were repaired by hired electricians during the exhibition and were then returned to their usual habitat at Alexander’s home. Center/periphery is part of our daily life in the city of Caracas. If you are in the center of some social structure you’re definitely on the
periphery of another structure. The electricians repairing Alexander’s
broken artifacts inside the museum reflect our uncertainty of the order of things.
3. There is or was some relationship to art practice inside museums, which I guess we should consider as the center; however today there is more going on in the streets than anywhere else, which can therefore also be considered now as a center. I think art should be wherever
people can see it, love it, hate it, engage with it... art should travel freely without economic or legal restraints.
— Diana Lopez

Selected group exhibitions: 2002: Ideal House/Demonstration Room, 400, Chicago/ NICC, Antwerp, Belgium/ apexart, New York; 2001: Utopolis, Galería de Arte Nacional, Caracas; 2000: Ideal House/ Demonstration Room, Museo Alejandro Otero, Caracas; 1999: Made in México/Made in Venezuela, Art Métropole, Toronto; 1998: 10o Premio Eugenio Mendoza, Sala Mendoza, Caracas.