|Daniel Bejar||selected projects||statement / bio||current||cv||contact|
I am interested in the politics of history and memory and the roles they play in geography, individual
and national identity, and the collective memory. Through forms of public engagement, performance,
and intervention, my work introduces new layers of information into familiar public spaces and social
systems, revealing narratives of power while challenging viewers to question the familiar and envision
alternative models and realities.
Using a research-based approach to my work, my current projects are primarily documented through
photography, print and video while employing documentation and installation strategies for production
and distribution in physical and virtual spaces.
I believe it is my job as an artist to brush history against the grain, and I’m interested in provoking
ruptures within the everyday, which provide opportunities to explore unresolved histories, pose critical
questions, and affect social change and public dialogue.
Utilizing the situations, systems, and politics of the everyday as sculptural material, projects such as
“Promised Land” transforms found real estate signs, which originally read “commercial land for
lease” to “promised land for lease”. The intervention exposes and questions the ethos of the American
Dream in a contemporary landscape. In “Operation Guest” the son of the Muammar Gaddafi; Saadi
Gaddfi assumed my name in a failed escape from Niger, Africa to Mexico after the 2011 Libyan
Revolution. The project realizes his failed exotic exile through documented site-specific performances
in the safe houses, beaches and resturaunts Saadi was to spend the rest of his days in. And in
“Rec-elections” campaign posters from past Presidential campaigns were appropriated and re-
inserted back into the context of the 2012 U.S. Presidential campaign at the Republican National
Convention in Tampa, FL. Through a series of site-specific performances and interventions in protests
at the RNC the project critiqued the weaponization of nostaligia and history as tools of manipulation
It’s projects such as these, where I am inserting my work and myself into the everyday to ask critical
questions through radical poetics while pushing the gesture of production beyond art and into the
Daniel Bejar is an interdisciplinary artist living and working in Brooklyn, New York.