Carlos Salazar-Lermont

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	<title>Carlos Salazar-Lermont</title>
	<link>https://carlossalazarlermont.com</link>
	<description>Carlos Salazar-Lermont</description>
	<pubDate>Wed, 15 Apr 2026 02:19:01 +0000</pubDate>
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		<title>Austerity Performance</title>
				
		<link>https://carlossalazarlermont.com/Austerity-Performance</link>

		<pubDate>Sat, 16 Feb 2019 23:11:06 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Austerity-Performance</guid>

		<description>Austerity PerformancePerformance

Chicago, United States,
2018-2019

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="681" height="564" width_o="681" height_o="564" data-src="https://freight.cargo.site/t/original/i/6e46f1cee93eda5a246745a19cfc39cafebc285e8f9268cbf4d12ce7d5185f31/Graphic-feb-2019.jpg" data-mid="64378087" border="0"  src="https://freight.cargo.site/w/681/i/6e46f1cee93eda5a246745a19cfc39cafebc285e8f9268cbf4d12ce7d5185f31/Graphic-feb-2019.jpg" /&#62;


This project aimed to experiment with my daily life as a form of art, while trying to answer questions on personal and general economy, management, and administration. 

In this performance, I restricted my expenses to those that were strictly necessary and to investments for 6 months. These expenses were made public through social media during the performance duration. I also registered my income, deposited on a savings account, and paid my debts. Every month, I registered the change in my net worth, with which I made the graphic displayed here.

Austerity Performance explored the tensions between economic policy theory and practice, and between the technique and the constraints of human emotions. Art, in this case, provided a frame that allowed me to take the experiment to a successful result, in a way that otherwise would have been more difficult to happen due to the emotional toll that this performance implied.To see the daily documentation, please follow my Instagram account @csalazarlermontFind more information at The Backroom, a project organized by Independent Curators International and Museo Tamayo.

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		<title>About</title>
				
		<link>https://carlossalazarlermont.com/About</link>

		<pubDate>Thu, 13 Jul 2017 03:57:13 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/About</guid>

		<description>About


Carlos Salazar-Lermont (b. Caracas, Venezuela, 1987) is a multidisciplinary artist whose practice spans performance art, video, photography, installation, and print media. Central to his work is an exploration of performativity and socially engaged art, with a particular focus on the complexities of Post-colonial identity and cultural heritage in Latin America.

Salazar-Lermont holds an MFA in Visual Arts from Washington University in St. Louis (2022), where he received the prestigious Danforth Scholarship, and a Dual MA in Arts Administration &#38;amp; Policy and Modern and Contemporary Art History from the School of the Art Institute of Chicago (2019), supported by the New Artists Society Scholarship. He also earned a BFA in Sculpture from UNEARTE (2012) and a Technical High School degree in Fine Arts (2005).

His work has been exhibited in numerous international events, including Experiencias de la Carne (Lima and Trujillo, Peru), Soap Box Sessions (London), PAEkort #14 (Rotterdam, Netherlands), and Rapid Pulse International Performance Art Festival (Chicago, US). He has participated in several key performance art festivals in Venezuela, such as ID Performance, Encuentro de Arte Corporal, and Fugaz: Feria de Performance del Estado Lara, among others. In 2014, he founded P3 Plataforma Para Performance, an organization dedicated to promoting the creation, research, and education of Performance Art. The following year, he established the International Performance Art Biennial of Caracas, further cementing his role as a key figure in Latin American performance art.

Salazar-Lermont's work has earned him numerous awards, including the Graduate Curatorial Fellowship and Enrichment Fund Grant from the School of the Art Institute of Chicago, as well as the John T. Miliken Foreign Travel Award and Graduate Production Grants from Washington University. He has also been recognized for his curatorial work, including an Honorable Mention for curating Desafío al Poder during the International Contemporary Art Biennial of Los Andes (2013).

Currently, Salazar-Lermont lives and works in Chicago, Illinois, where he continues to engage with local and global artistic communities.


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	<item>
		<title>Statement</title>
				
		<link>https://carlossalazarlermont.com/Statement</link>

		<pubDate>Fri, 21 Jul 2017 04:38:12 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Statement</guid>

		<description>Statement


Through my practice, I examine the historical circumstances of Latin America by deconstructing the social, political, and economic structures that have shaped its identity. I aim to dismantle dehumanizing myths by contrasting the narratives imposed upon us with the reality of our lived experiences.

A central focus of my work is revealing the Catholic origins of cultural burdens in Latin America—such as the glorification of poverty, guilt, and self-humiliation. Using visual codes inherited from the colonial process, I highlight these enduring structures. The concept of Vanitas, drawn from Ecclesiastes, underscores the ephemerality of life and challenges the transcendental myths imposed upon us.

Performativity is the thread that ties these concerns together. I explore it through a range of media—live performance, photography, video, and time-based media—believing in the transformative potential of action. My work invites viewers into an interactive space, where cultural and social realities are both confronted and understood.

The interpersonal closeness central to Latinx culture is key to creating experiences that resonate emotionally with my audience. Through my art, I seek to engage not only with my own social and political reality but also with that of those who experience my work. I aim for my practice to be a pedagogical tool, creating a shared space where we can reflect on who we are and our place in history.


Other statement

Use as few elements as possible


Present clearly defined actions and materials to enhance
real or suggested performativity


Proximity—literal, figurative—increases tension and
engagement


Materials are a discourse. The body is a material


Vulnerability is a strength


Address Venezuela’s historical circumstances by
deconstructing the social, political, and economic fabrics


Subvert the burden of Catholicism’s culture of
self-sacrifice and martyrdom 


Reflect on the awareness of our own death, as a path to make
sense out of existence


Show the paradoxes of economic value, through everyday
social dynamics
You have permission to laugh


If that does not convince you, try this one: 


Art expresses what philosophy and science cannot because Art
can express contradiction


Matter is contradictory


Performance Art is contradictory


Latin America is contradictory


Venezuela is contradictory


USA is contradictory


Life is contradictory


Human Nature is contradictory


I am contradictory


Everything I say about my work is true, but it is also a lie


If that does not work either, try this other one:


My subconscious makes my work for me


I read the Bible


I listen to Gregorian Chants


I read about Latin American economy and its historical failures


I visualize the making in my mind. Then I go directly to the
making


I use ephemeral materials very often because life is
ephemeral very often


The form is brief because my attention is brief


The content is labyrinthic because my thought is labyrinthic


If that is still not clear, this could be helpful:


My art practice is like euthanasia to Modernism while
being pregnant with its baby


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	<item>
		<title>Press and Scholarship</title>
				
		<link>https://carlossalazarlermont.com/Press-and-Scholarship</link>

		<pubDate>Wed, 08 Jun 2022 16:47:14 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Press-and-Scholarship</guid>

		<description>Press and Scholarship
“Carlos Salazar-Lermont y la Urgencia de Nombrar lo que Somos” by Manuel Vásquez-Ortega

“Un Cuerpo en Vano: Escapando de la Salvación en el trabajo de Carlos Salazar-Lermont”, by Wil Ruggiero

“Carlos Salazar-Lermont”, by Lori Waxman

“Immigrant Artists: Living Architecture Breathes New Life into the histories of Chicago”, by Manisha Ar“Vanitas Vanitatum” by Carlos Salazar-Lermont“Rapid Pulse 17 Day Four”, by Jennie Klein“Carlos Salazar Lermont: Dónde está lo que me atormenta”, by Gabriela Mesones Rojo


“Rigor Mortis”, by Carlos Salazar-Lermont“Escrituras en el aire. Rigor Mortis: Carlos Salazar-Lermont”, by Lorena González Inneco“Carlos Salazar Lermont gana Salón Jóvenes con FIA 2.0/3”, by El Universal“Ecce Homo: Carlos Salazar Lermont”, by Shannon Cochrane
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		<title>Contact</title>
				
		<link>https://carlossalazarlermont.com/Contact</link>

		<pubDate>Thu, 13 Jul 2017 03:43:10 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Contact</guid>

		<description>
Contact
csalazarlermont@gmail.com+1(773)8708350︎ Carlos Salazar-Lermont
︎ csalazarlermont︎ Csalazarlermont</description>
		
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		<title>Santuario de Amor</title>
				
		<link>https://carlossalazarlermont.com/Santuario-de-Amor</link>

		<pubDate>Fri, 02 Jan 2026 23:44:46 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Santuario-de-Amor</guid>

		<description>Santuario de Amor4K video


5’40”&#38;nbsp;
Edition of 8, 2 AP


Mutuality: The Center Program Biennial ExhibitionHyde Park Art CenterChicago, IL. United States2025


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The video Santuario de Amor pairs a salsa romántica track with images of asylum seekers dancing Ladrillo, a style rooted in low-income Venezuelan communities. The track is
about a lover who provides affection, safety, and relief to their loved one.
The scene unfolds against the backdrop of the Illinois State Capitol in
Springfield, a symbol of constitutional democracy and equal protection under
the law. Together, these elements reframe conversations about immigration
through the lenses of love and hospitality.
This work was made with the support of the City of Chicago Department of Cultural Affairs and Special Events’ Individual Artist Project Grant, the Missouri Regional Art Commission’s Artist Support Grant, and the Terrain Art Residency at Springfield Art Association’s Enos Park Residency for Visual Artists, in Springfield, IL


https://youtu.be/qqx698l9V-k 


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		<title>Habitus</title>
				
		<link>https://carlossalazarlermont.com/Habitus</link>

		<pubDate>Fri, 02 Jan 2026 23:54:53 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Habitus</guid>

		<description>HabitusDurational performance, monk-style haircut, digital photographs36 x 36 in each panel
Fixing the Baroque (solo exhibition curated by Inés Arango-Guingue)ACRE ProjectsChicago, United States2025


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In this durational
performance, I wore a tonsure—the Catholic monks’ distinctive haircut since the
day I got the haircut, until the day my hair grew to a point in which the
tonsure was not recognizable anymore. The performance lasted from June 29th until August 1st, for a total of
thirty-four days. As part of the project, I took a daily self-portrait to
document the hair growth. This piece is a reflection on social norms and how
appearance becomes a fundamental factor in determining identity, social
interactions, and public image. Our presentation in society is an investment
that seeks to construct an ego, which relates to our desires: who we want to
be, how we want to be seen, and what we want from life. However, it also comes
with opportunity costs, where we cannot obtain what is incompatible with the
choices we have made. In other words, appearances are more than just looks;
they are an expression of commitment.

Fixing the Baroque was made possible thanks to the support and generosity of Kaitlyn Donnelly, John Guevara,
Cortney Lederer, Margaret MacNamidhe, Renaud Proch, Teresa Silva, and other anonymous benefactors.
Special thanks to Jamie Hayes for all the support and encouragement.


Fixing the Baroque’s curatorial text by Inés Arango-Guingue</description>
		
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		<title>Vanitas Vanitatum</title>
				
		<link>https://carlossalazarlermont.com/Vanitas-Vanitatum-1</link>

		<pubDate>Wed, 15 Apr 2026 02:19:01 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Vanitas-Vanitatum-1</guid>

		<description>Vanitas Vanitatum4K video5’40” Edition of 8, 2 APVanitas Vanitatum (Solo exhibition)Bruno David GallerySt. Louis, MO. United States2025


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Based on the Vanitas Vanitatum performance (2016), this video refers to the Ecclesiastes book of the Bible, in which it is written that everything in life is vain. This work ambiguously addresses the burden of life's vanity, and at the same time, that of the Catholic Church over the individual, dominating over consciences and bodies.


Watch video
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		<title>The Whole Piece Is A Coda For An Ending</title>
				
		<link>https://carlossalazarlermont.com/The-Whole-Piece-Is-A-Coda-For-An-Ending</link>

		<pubDate>Sat, 20 Jan 2024 18:24:31 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/The-Whole-Piece-Is-A-Coda-For-An-Ending</guid>

		<description>The Whole Piece Is A Coda For An Ending
PerformanceRadical Joy. Co-Prosperity Sphere


Chicago
2023

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In this work, I explored the meaning of freedom and
self-definition as a means of resistance. I composed a series of seemingly
everyday actions intended to create expectations in the viewers, immediately
failing to fulfill them. Aggressive in attitude, but tongue-in-cheek in
subtext, this work ends with a tense moment, on which the last movement of
Beethoven’s 9th Symphony—an embodiment of Western modern
values—becomes the protagonist.


See video</description>
		
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		<title>Esperando A Dios (EAD) v.0</title>
				
		<link>https://carlossalazarlermont.com/Esperando-A-Dios-EAD-v-0</link>

		<pubDate>Fri, 12 Jan 2024 00:18:03 +0000</pubDate>

		<dc:creator>Carlos Salazar-Lermont</dc:creator>

		<guid isPermaLink="true">https://carlossalazarlermont.com/Esperando-A-Dios-EAD-v-0</guid>

		<description>Esperando A Dios (EAD) v.01

3-channel video

3:47
Variable dimensions
Esperando A Dios (EAD) v.01 (Solo exhibition)


St. Louis, United States
2023

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Esperando A Dios (EAD) v.01 (2022-2023) is a sardonic view on the marginalization that immigrants experience in the United States. The piece was filmed when the Venezuelan artist was expecting his delayed Employment Authorization Document. At the time, the American economy was rebounding from the COVID-19 crisis. This effervescence was reflected in a sudden and unexpected surge of jobs in the United States. Unable to work legally, the artist filmed himself standing in front of multiple fast-food businesses’ “now hiring” signs in St. Louis, MO, doing all he could do about it: wait. The images in the video move to the rhythm and melody of an electronic version of El Norte es una Quimera, a traditional merengue caraqueño song from the 1920s that speaks about the hardships of immigrating to the US. The cover of this centennial song was conceived and produced specifically for this project by Carlos Salazar-Lermont and performed by Venezuelan electronic musician Andrea Ludovic.


See video (link)
Visit Bruno David Gallery (link)</description>
		
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