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Alejandro Chellet

Comunidad de Artistas y Creadores



Alejandro Chellet is a Mexican multidisciplinary artist, curator and permaculture designer. His art addresses the misplaced core principles of coexistence, the loss of connection with Nature and the political and environmental context of urban societies. From social practice to site specific, urban interventions and performances he is using permaculture, artivism, improvisation, somatic movement, politics, altruism and shamanism. His art has been shown at festivals, museums and galleries in Europe, Asia, North, Central and South America. In 2014 Alejandro started co-designing together with Grace Exhibition space an ongoing art and permaculture summer residency program in Rosendale, NY. In 2015 he ventured into opening Casa Viva Gallery, an artist-run space for contemporary art in Mexico City with five years of programming. Lastly in February 2020 he launched a broader art residency program at the community space Huerto Roma Verde in Mexico City, his current Art-Life base after the pandemic breakout.


Freegans and Permaculturists

Curated by Jill McDermid & Pancho Lopez.
Grace Exhibition Space, Brooklyn, NYC , USA. May 2014
Alejandro offered a dinner to the gallery's guests with recycled food found on Williamsburg streets. He made everyone hold hands in a circle and gave thanks to mother earth and all the chain of people involved in the food business and production. After the food was eaten, he passed his hat around asking for peoples economic donations and showed them pics of him taking the food out of the rubbish the night before. As a final act he set on fire all the collected money as way to wonder how much society waste something real like food, but never a piece of paper like are banknotes. 


Buried by Broccolli

Photographic series and performance.
Curated by Jill McDermid
Linda Montano´s ART / LIFE INSTITUTE, Kingston NY, USA. March 2016. 
Buried By Broccoli was part of a series of performances that Alejandro developed mainly in NYC and NY upstate reutilizing waste and particularly food waste in perfect edible conditions that I had found in the streets of NYC.

​For a while garbage in Brooklyn was his ART supply and the streets of New York were his studio.

He always felt a need to find ways for people to realize how much waste exists around us, how many resources we don't see which are actually just out there....

For this performance he happen to found 4 dumpsters full of broccoli and was able to collect just enough quantity of them that would fit inside the car trunk, then took them to the Art Life Institute in Kingston NY where he performed this piece which mainly involved the interaction of the audience by asking them to burry him under the pile of broccoli in which he remained under for 15 minutes and experienced how all the broccoli then became like one single organism, feeling how his breathing would make all of the pile expand or retract.


The house that shines

Urban intervention.
Curated by Ana Dragic.
Mikser Festival, Savamala district of Belgrade, Serbia, June 2016. 
This work was produced during his residency at G12 HUB in Belgrade, Serbia. Alejandro was invited to take part in Mikser Festival where he produced an urban intervention relating to the situation between the city and the Syrian war refugees that were being displaced in lack of support from the local government.
This intervention consisted of building a house out of straw placed in the middle of the street where he was inviting people to come inside and sit to have a conversation reflecting about what their ideal home are and why.


The Keys to My Citizenship

Morni Hills Performance Art Biennale II,
curated by Guillaume Morin Dufour.
Fine Arts Museum, Chandigarh, India. Nov 2018. 
The Keys For My Citizenship is performance series that happened in New York City, Mexico City and Chandigarh in India.
​This project originated in NYC in the summer of 2018 when Alejandro was walking with friends in Brooklyn and found a suitcase on top of lots of garbage bags on the sidewalk full of hundreds of keys. He took this suitcase and went to his friend house who was applying for citizenship struggling trough the application process which involved submitting forms with many multiple choice questions replying to very intimidating and shocking statements. Learning about this struggle he felt inspired to make a somatic movement performance using the keys he found as a metaphor on the complexity about earning a citizenship in another country apart from the place you were born.

This keys he found were given to him by the city, so that he could open the doors that would lead the way for his citizenship?

​If so, he must open hundreds of doors with hundreds of keys or just one single door having to try hundreds of keys to open it?


Crossing Reality Portal

Painting. 25 x 20 cm. Acrilic and spray paint over foamboard. Croatia. 2019.
Shown in 2020 at the group show The Future We Want, representing Mexico on the 75th Aniversary
of the United Nations, Palais de Nations, Geneve, Switzerland. 
This painting was created during a residency in Zagreb, Croatia.
It depicts the refugee welcome sign used by organizations that provide help to refugees.
In this artwork, the artist is portraying a family running through two pillars that symbolize a political and psychical border. This family is urging to get through the other side to become safe from a reality that is collapsing.
Perhaps this family will be able to cross a portal into a better and more fair reality of the world?


World Views

Curated by stvn girard
L'Aise, Quebec City, Canada. March 2020.
World Views was a very introspective performance looking into the artist life.

​While unravelling several rolls of receipt paper between two columns Alejandro created a paper wall representing his life connections. For each strip of paper he installed across the columns he spoke out loud a person name or a place that he encountered trough his wander as an artist around the world.

He then faced the wall and while undressing himself he made a self portrait out of the clothes he was wearing and then drawn his own face onto the wall. While still facing to the wall the artist scrolled through his passport pages and for each stamp he had been given on his journeys, Alejandro banged on the passport for each stamp he had gotten in the recent years in an almost sequential movement creating a repetitive sound.

Lastly, the artist while naked and facing to the wall in silence holds hand with his self-portrait for a moment and then turns around to the public for one second, looks at everyone and runs very fast towards the wall of paper getting through it while going crazy happy dancing and singing all around the audience fully dressed in paper. 

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