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Valentina Alvarado Matos (Maracaibo, 1986)

Valentina Alvarado Matos is a visual artist working across analogue film, ceramics, collage, and installation. Her practice explores the intersections of image, materiality, and landscape. Through processes of fragmentation, translation, and transformation, she investigates how memory is embedded in materials and gestures, and how diasporic experience reshapes our relationship to place, language, and belonging.

Rooted in collage as both a medium and a methodology, her work moves between analogue film, paper, voice, and clay, approaching each material as a different way of recording, transmitting, and transforming experience. Her projects often unfold through long-term artistic research, combining moving image, installation, and material experimentation.

Her work has been presented at institutions and festivals including La Virreina Centre de la Imatge, California Museum of Photography, the British Ceramics Biennial, the Victoria and Albert Museum, Artium Museoa, the Bienal de Cerveira, Pesaro Film Festival, Viennale, International Film Festival Rotterdam, Punto de Vista Festival, Loop Festival, Filmoteca de Catalunya, SFCinematheque, Microscope Gallery, Salzburger Kunstverein, Fabra i Coats, and La Capella, among others.

She has participated in residency programmes at Hangar, La Escocesa, Cultura Resident (Castellón), Fora de Camp, LIFT (Toronto), Dirdira Lab/Azala, Matadero Madrid, and Visual Studies Workshop (Rochester, New York).

Alongside her artistic practice, she regularly teaches and leads workshops on analogue film, experimental cinema, and artistic research at institutions including BAU Centre Universitari d’Arts i Disseny, Escola Massana, EINA, Universitat de Barcelona, Cinema en Curs, EICTV (San Antonio de los Baños), and the University of Zulia.

Her films are distributed by Light Cone and are held in the collections of Archivo Xcèntric, HAMACA, and the Busan Museum of Art. Her work has also been featured in Remains–Tomorrow: Themes in Contemporary Latin American Abstraction, edited by Cecilia Fajardo-Hill.

Valentina Alvarado Matos (Maracaibo, 1986)

Valentina Alvarado Matos is a visual artist working across analogue film, ceramics, collage, and installation. Her practice explores the intersections of image, materiality, and landscape. Through processes of fragmentation, translation, and transformation, she investigates how memory is embedded in materials and gestures, and how diasporic experience reshapes our relationship to place, language, and belonging.

Rooted in collage as both a medium and a methodology, her work moves between analogue film, paper, voice, and clay, approaching each material as a different way of recording, transmitting, and transforming experience. Her projects often unfold through long-term artistic research, combining moving image, installation, and material experimentation.

Her work has been presented at institutions and festivals including La Virreina Centre de la Imatge, California Museum of Photography, the British Ceramics Biennial, the Victoria and Albert Museum, Artium Museoa, the Bienal de Cerveira, Pesaro Film Festival, Viennale, International Film Festival Rotterdam, Punto de Vista Festival, Loop Festival, Filmoteca de Catalunya, SFCinematheque, Microscope Gallery, Salzburger Kunstverein, Fabra i Coats, and La Capella, among others.

She has participated in residency programmes at Hangar, La Escocesa, Cultura Resident (Castellón), Fora de Camp, LIFT (Toronto), Dirdira Lab/Azala, Matadero Madrid, and Visual Studies Workshop (Rochester, New York).

Alongside her artistic practice, she regularly teaches and leads workshops on analogue film, experimental cinema, and artistic research at institutions including BAU Centre Universitari d’Arts i Disseny, Escola Massana, EINA, Universitat de Barcelona, Cinema en Curs, EICTV (San Antonio de los Baños), and the University of Zulia.

Her films are distributed by Light Cone and are held in the collections of Archivo Xcèntric, HAMACA, and the Busan Museum of Art. Her work has also been featured in Remains–Tomorrow: Themes in Contemporary Latin American Abstraction, edited by Cecilia Fajardo-Hill.