Venezuelan artist Luis Molina-Pantin is interested in making visible the structures of power. He gained recognition for photographic series that explored the diverse and bizarre human topographies of personal and civic buildings funded by drug money, the severe aesthetic of blue-chip Manhattan galleries’ offices, the questionable opulence of cruise ships and global hotel chains, and the discomfort of the North Korean border. Molina-Pantin portrays these monumental and inhuman cultural edifices with detachment. Any actual human subjects included or the lives implied are incidental. As he explained, “Investigative approach has always been present in my work, the art to provoke or to criticize in an indirect way: from the soap opera TV studios, to Euro-Disney landscapes, to narco-architecture, to Chelsea art galleries, to fraudulent institutions and so on, including the notion of exploring the limits of what’s art and what’s not. Irony, romanticism and honesty are elements that should always be present in contemporary art.”
Molina-Pantin lives and works between Caracas and Mexico City. He has a BFA from Concordia University in Montreal and MFA in New Genres from San Francisco Art Institute. He won the Kassel Photobook Award in 2018 and has shown internationally including at Les Rencontres de la Photographie, Arles; The ICP Triennial, New York; the 7th Gwangju Biennale; and XXV Bienal de Sao Paulo. His work is represented in public and private collections including the Museum of Modern Art (New York), Museum of Fine Arts (Houston), Centro Andaluz de Arte Contemporaneo (Sevilla), and Galeria de Arte Nacional (Caracas).