about

Ilya Noé is a former gymnast turned visual/performance artist-researcher, dissertation sufferer, compulsive walker, eager collaborator, sporadic teacher, occasional curator, and enthusiast of trees, fungi, deer, weeds, interintraspecies per-formations and co-becomings, mutualistic processes, declarations of interintradependence, taoist dialectics, slow research, messy theory, emergent practices,situated and partial knowledges, palimpsestuous realities, intellectual promiscuity, epistemological uncertainty,  stubborn attempts at free-gifting,  trickster myths, open-ended storytellings, ellipses…

Born and mostly assembled in Mexico City, Ilya has since explanded her zone of propagation by popping up on all sides of the Atlantic and the Pacific to trace lines and build spaces by hand and on foot. She now lives, loves, and joyfully struggles in Berlin where she was co-laborer at the Month of Performance Art and is one of the founders of the city’s Association for Performance Art.

Ilya represented her country in Venice’s OPEN2000, became a UNESCO-Aschberg Laureate and was recipient of one of Mexico’s National Young Art Awards. A special guest at both the European Landscape Biennial in Barcelona and the International Biennial of Cerveira, she has also presented her work at the Boston Center for the Arts (USA), Centre d’Art Santa Mónica (Barcelona), Centro Nacional de las Artes (Mexico), AC Institute (New York), Seika University Art Gallery (Japan), TRAFO (Poland), Excentricités Festival (France) and Visions_V (Greece), among others. She has been artist-in-residence at the Banff Centre for the Arts (Canada), Zentrum für Kunst und Urbanistik (Berlin), Campo Arqueológico de Mértola (Portugal), Museu de Sant Pol (Barcelona) and MacLaughlin Natural Reserve (California), among other prestigious institutions. Her work is represented in European and North American public collections.

Currently trying to stay a-pace and in-place as she concludes her PhD in Performance Studies at the University of California, Ilya is taking one of her core cues from the non-metaphoric intimacy between roots and rhizomes: the mycorrhizal. The somewhat recently discovered joint tissue produced by the synergetic relationship between plants and fungi is gifting her a way to thinkmake outwith the conventional opposition between nouns and verbs, theory and practice, settlers and nomads, the rhizomatic and the arborescent, erogation and surrogation. Along with her practiced concepts of the sporadic, the sporous, and her attempted move from the site-specific to the eco-particular, she insists on pushing her subjectivity and entanglements walk more distributed, vulnerable, and co-extensive pathways.