Sep 2010 – Sep 2011

MA in Fine Art, Central Saint Martins, Byam Shaw, shortlisted for AHRC award, awarded the South Square Trust Scholarship


Sep 2003 – Nov 2007

BA Bachelor in Hospitality Management, Degree programme of Tourism, Rovaniemi University of Applied Sciences


Jan 1996 – Jun 2002

Studies for BA in Fine Arts. Mayor in Painting, Minor in Art History and Theory. Universidad Nacional de Colombia. Bogotá, Colombia


Sep 1995 – May 1996

Architecture, Universidad de los Andes. Bogotá, Colombia


May 1995

Colegio Albania, Colombia







October - November 2009

 Painting exhibition at Gallery Olsen; Copenhagen, Denmark


November - December 2006

 Exhibition at Rovaniemi University of Applied Science, Rovaniemi, Finland


 July - August 2006

 Exhibition at Centro Colombiano del Diseño, Bogotá, Colombia




July 2010 – May 2012

 O Que Acontece Depois. Exhibition at Centro Cultural do Cartaxo. Cartaxo, Portugal


September 2011

 MA Final show, Byam Shaw, Central Saint Martins, London


August 2011

 Open Open, Swiss Cottage Gallery


July 2011

 Glory Hole, Elthorne Road studios


April 2011

 13, MA Interim group show, CSM, MA Fine Art, Byam Shaw


February 2011

 MA group show, CSM, MA Fine Art, Byam Shaw


October 2010

 MA group show, CSM, MA Fine Art, Byam Shaw


August 2010

 International Group Exhibition, Camden Art Gallery, London, UK


June 2010 – July 2010

 International Group Exhibition, Camden Art Gallery, London, UK


June 2006 - Present

 Art Money Project BIAM.

 International art project


September 2005 - 2009

 Alien Art Project

 Collaboration art and philosophy project with PhD Daniela Gronold (Austria) and PhD candidate Linda Lund Pedersen (Denmark, LSE UK).


September 2007

 One Thousand Money Artists, Politiken, Copenhagen, Denmark


July 2006

 Great Art Money Exposition, Copenhagen, Denmark

from the chapter:


Daniela Gronold and Linda Lund Pedersen

Published in the book 'Teaching with the Third Wave New Feminists’ Explorations of Teaching and Institutional Contexts'!/Teaching_With_The_Third_Wave.pdf


The “alienbus” is part of an artistic project of the Colombian painter Carlos Alberto Reyes Florez, in which he uses the alien as a figurative-metaphor for the experience of being the “other”, the “stranger” in the framework of a white capitalist/colonialist and globalised world which is represented by the airplane. The project offers many entrance points to reflect upon a feminist stance on Critical Whiteness Studies. The green of the alien tells of the visibility of the “other”, always being exposed to the gazes of those whose hegemonic position allows them to consider themselves as “normal” and not demarcated by “otherness”.  Furthermore, the green colour is an abstraction of the notion of skin colour. It rather shows the artificial construction behind “othering” than it determines a particular skin colour or suggests that the green stands exclusively for skin colour. The shape and bodily feature is not emphasising a particular gender of the “other”. The “stranger” can be seen as female or male, child or adult, hetero-, bi- or homosexual, white or black or brown or yellow. The example here also shows the “alienation” of the “other” by being outside the airplane and therefore in a very vulnerable position, whereas people inside the plane can be considered as “safe” or at least in case of emergency they will be provided subsidies which can increase their chance for survival. Through the shelter of the plane, the people are highly homogenised in the terms of being insiders – though divided by they abilities to pay for extra services. The shelter of the plane protects these people and they are invisible in the painting. On the contrary the person outside is the most visible figure in the painting since she/he/it is excluded from taking up a seat among the other passengers. From inside, passengers are hardly able to see the excluded. Many of them would not even know of the person outside or be aware of the difficult and dangerous situation the “stranger” is in. Some may know of the existence of the “alien” and consider this “blind passenger” as a parasite who illegally takes advantage of “their” system, whereas some may feel sorry for the inconvenient situation of the “other” or even try to do something to help the person outside.

© carlos reyes florez 2006 - 2015