Nicolas Grum was born in Santiago de Chile in 1977
In the last few years I have focused my investigation on power relationships and it´s most diverse manifestations In different contexts.
Because of this my work understands reality as a space that articulates itself threw manipulation,deception and the artifice itself.
This logic allows me to establish failed, ironic and absurd hypothesis of how and what things arehappening around.
My pieces go from videos that analyze the construction of realities coming from the cinema industry, using as an example Hollywood movies that mention Chile as an exotic and far away place.
Also I have researched the ways police control systems operate, by ´´forgetting´´a ´´suspicious object ´´in the subway of New York or calling Budweisser Customer Service to file a complaint for finding a Statue of Liberty floating inside a beer bottle.
My last works focus on reviewing the way history presents itself, producing a serie of museological dioramas that describe scenes of forgotten or censored events, creating a sort of Museum of theimposible.
I conceive art as a way of versatile approximation, where it´s key points to specific contexts are observation and adaptation, just as critics and humor.
He has exhibited in museums and galleries.
Among his works, The Body (2005), The Hudsucker Proxy (2006, Santiago 2007, Beijing) Order and Fatherland (2008).
Among his solo exhibitions include, Not Too Young or as Promise (2008), and a remote country (2011).
He has edited two books: Decorative Line (2001) and No (do) (2012).
His work is present in more than a dozen publications, both local and foreign.
In 2009 he participated in the Biennale 798 Beijing with his work Giants do not exist and sample the earthquake in Chile, curated by Fernando Castro Flores, for the Triennial of Chile with his painting The state of things / Things State.
In 2010 he makes a residence gallery kiosk, Santa Cruz de la Sierra, and ISCP, New York.
Among his group exhibitions include, Circuits and Santiago’s manifesto, curated by Philippe Van Cauteren; and Visionaries project, curated by Jorge la Ferla