Geraldine Juárez (b. Mexico City) is a Mexican-Swedish artist working with time-based media, sculpture and performance about histories, imaginaries and materials involved in the social production of technological culture. Her work has been exhibited and perform in Casa de Lago in Mexico City, Skogen and Botaniska in Gothenburg, Haus der Kulturen der Welt and ifa Galerie in Berlin, Fotomuseum in Winterthur and in the 57th Venice Biennale.
Her writing has been published by Constant, Continent, Scapegoat, Sink, Paletten and K.Verlag. In 2018, Rojal Förlag published her artist book Flux until Sunrise.
Geraldine has an MFA in Fine Art from Valand Academy and she studied Ceramics in HDK-Academy of Design and Crafts both in Gothenburg, Sweden. She lives in Berlin.
geraldine.juarez.se
In her essay The Ghostchain (or taking things for what they are) published in Paletten #325, Geraldine Juárez identified the creepy quality of crypto and NFTs in the asset form: tokenization is nothing else than assetization. Assetization is defined by scholars Kean Birch and Fabián Muniesa as the process of transforming something (e.g. knowledge or .jpgs or real estate) into an asset that can be controlled, traded, and capitalised as a revenue stream; assetization is not a unique feature of fintech and its associated blockchain culture, but a systemic condition contoured by market speculation. In the following essay published in Paletten #327-328 she continues to reflect on blockchain culture and the logic of asset management. Paletten #327-328 will be released on April 21st 2022 3.30 pm at Studio Giardini, Venice.
