Biography:
Daniela Edburg was born in Houston in 1975. The mexican artist holds a degree in visual arts from UNAM’s National Painting School at Academia de San Carlos. She has been featured in numerous collective exhibitions and art fairs in Mexico and abroad, such as "Detras del Sueño: Fotografía contemporánea mexicana", Centro Nacional para las Artes Contemporáneas (Moscow, Russia), XII Bienal de Foto, Centro de la Imagen (Mexico City). Her coming exhibitions will be at Museo Carrillo Gil (Mexico City), ARCO Stand Kunsthaus (Madrid, Spain) Sábados Memories Art 2102 (Los Angeles, USA), Art Istambul (Istanbul, Turkey), AAF Contemporary Art Fair (New York, USA), "Girls on Girls" Galería Florencia Riestra (Mexico City), La Vanguardia Mexicana BAC Santa Mónica (Barcelona, Spain) and Sala de Recuperación Museo Carrillo Gil (Mexico City).
Among her individual exhibitions we can mention: "Bersweet" Kunsthaus (Miami), "Here by accident" Aldaba Arte (Mexico City), "Drop Dead Gorgeous" Kunsthaus Santa Fé (San Miguel de Allende), "Nimbus" Galería Arte Joven (Mexico City), "Eat me" Kunsthaus (Miami), "As seen on TV" La Panadería (Mexico City) and "Let’s play house" Centro Cultural El nigromante, (San Miguel de Allende).
In 2006 she was selected for the 2nd. Sivam Visual Arts Award. In 2004 she was awarded a grant for young artists from the Government of the State of Guanajuato and received and Honorable mention in the 26th. National Encounter of Young Artists.
She currently works and lives in Mexico City.
Statement:
To put it in simple terms, Daniela Edburg makes kitsch photographs or beautiful pictures of women who were murdered or about to be murdered by consumer goods. She states that her work is in no way critical. The most basic Marxist reading of it would say that these pretty ladies are incarcerated by their own obsession for these capitalist products, specially after the signing of NAFTA, such as Miss Clairol, Tupperware, Nutella and Aspartame sweeteners. If these girls are not really dead, they are virtually dead for their total dependency on these items.
Nonetheless, there is something strange that goes against this bi-dimensional reading of these pictures. They are way too happy and enthusiastic for a merely critical discourse. Edburg is not making a frontal Marxist-feminist criticism of Barbara Kreuger or the upper classes. There is something too likable and tender towards her subject-friends, as if they were saiyng "Yes we are materialistic and Americanized… So what? We like it".
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