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<title>Javier Tellez</title>
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    <td width="286" height="13"><b><p align="left"><font face="Arial" size="3">Javier Tellez</font></b></td>
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    face="Arial" size="2"><img src="JTellez2.jpg" border="0" width="100" height="66"></font></a></p>
    <p align="left"><font face="Arial" size="1"><i>I Am Happy Because Everyone Loves Me
    (Bedlam), 1999</i></font><br>
    <font face="Arial" size="1">Video instalation</font><br>
    <font face="Arial" size="1">Courtesy the artist</font></td>
    <td width="286" valign="top"><font FACE="Arial" SIZE="2">&nbsp;<p>Javier Tellez was born in
    Valencia, Venezuela in 1969 and moved to New York in 1993. Solo exhibitions have been
    organized at</font><font FACE="Courier New" SIZE="2"> </font><font FACE="Arial" SIZE="2">Gasworks
    Gallery, London (1999), and at Museo de Bellas Artes, Caracas, Venezuela (1996). His work
    has been included in group exhibitions at the Kwangju Biennale, Korea (2000), at Centro
    Cultural Arte Contemporáneo, Mexico City (1997), at MercoSur Biennale, Porto Alegre,
    Brazil (1997) and at P.S.1&#146;s International Studio Program (1994).</font></td>
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    <td width="286" height="58"><font face="Arial" size="2">&nbsp;<p>&quot;'I am Happy Because
    Everyone Loves Me (Bedlam)' was made after a residency in London at The Royal Bethlem
    Psychiatric Hospital, commonly known as &quot;Bedlam&quot; since its foundation in the
    thirteen century. The installation includes a video projection that discloses training
    sessions of &#145;restraint and control&#146; techniques performed by nurses of this
    institution, and a viewing room lined with nest boxes produced by inmates in the
    occupational therapy workshops.</font></p>
    <font face="Arial" size="2"><p>The work maps the social space of the hospital through an
    architectural model that questions the absolute point of view implicit in the <b>Cartesian
    </b>logic of the gaze, as well as the instrumentalization of surveillance of
    Bentham&#146;s panopticon. The viewers are positioned in an ambivalent space where the
    dyads, inside/outside, fiction/documentary and seeing/being seen, collapse.&quot;</font></p>
    <p>&nbsp;</p>
    <p><font face="Arial" size="2"><strong>Selected Bibliography</strong></font></p>
    <font FACE="Arial" SIZE="2"><p>Costa, Eduardo. &quot;Javier Téllez,&quot; <i>Art in
    America</i>, November 1996.</p>
    <p>Gallo, Rubén, &quot;Javier Téllez,&quot; <i>Poliester</i>, Fall 1997. </p>
    <p>Kent, Sarah, &quot;Javier Téllez,&quot; <i>Time Out</i>, December 8-15, 1999.</font></p>
    <p>&nbsp;</p>
    <p><font face="Arial" size="2"><strong>Catalogue Essays from the Writing Project</strong></font></p>
    <p><font face="Arial" size="2">No essays on this artist yet.&nbsp; New esays will be
    posted as they are submitted and selected.</font></td>
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