... is Laura Oyuela’s first book, published by the independent publisher fug_ue_a_e and released in Vienna, on March 2026.‎‎☆ is a direct replica of one of the artist’s 2025 journals. An unfiltered showcase of the ongoing practice of poetry writing and note taking as a migrant, female artist. From lists recording books and movie titles to poems, single words, and blank pages, moving between Spanish and English, the book stands as a record of language and poetry as a ‘revelatory distillation of experience’ from where ideas and action may flourish.‎enquire for copies via <a target="_blank" rel="noopener noreferrer nofollow" href="https://ue-a-e.com/3-star/index.html" style="text-decoration: underline; text-underline-offset: 2px;">ue-a-e.com/3-star/index</a>.

2026‎As a student at the University of Applied Arts Vienna, I find it hard not to comment on the space we inhabit, and therefore co-produce, culturally, but also materially. On Experimental Geography: From Cultural Production to the Production of Space Trevor Paglen echoes Lefebvre and Marx re-stating that production is a spatial practice and cultural production, like all production, is therefore (pardon the truism) – spatial, and material as well. neglected area is a material reflection of what maintains the University of Applied Arts Vienna as a contemporary running art university and site of cultural and intellectual production; the constant material production of art works and other student projects. The work itself is sawdust collected between May and June 2026 from the university’s wood workshops (the main workshop located at Oskar-KokoschkaPlatz 1010 Vienna and the wood workshop located at Paulusplatz 1030 Vienna). This specific sawdust is the by-product or waste product of woodworking operations in the context of the institution, a by-product of other works that the audience will see and experience at the university’s annual festival the place and time, where and when, the work neglected area is also shown.‎‎ ‎ Extended text available in the exhibition catalogue:‎<a target="_blank" rel="noopener noreferrer nofollow" href="https://www.angewandtekunstgeschichte.net/uploads/Catalogue_When-Dus-Rises-A-Clouf-Appears.pdf" style="text-decoration: underline; text-underline-offset: 2px;">www.angewandtekustgeschicte.net/uploads/Catalogue_When-Dus-Rises-A-Cloud-Appears.pdf</a>‎Fotos: Peter Bitte‎Presented at:'When Dust Rises, a Cloud Appears' an exhibition at the Angewandte Festival 2026 led by Georgia Holz and Anita Hosseini, Vienna, Austria, June 2026.

neglected area

2025‎Together with Michael Reindel‎Connectors were the result of a joint project between Laura Oyuela and Michael Reindel. Over the course of eight months during 2025 the artists collected discarded materials from the AG18 Gallery as well as selected materials, within the vicinity of the gallery, offered ‘zu verschenken’ in the Austrian virtual marketplace WillHaben.‎The AG18 Gallery has a new kitchen. Even if it’s hidden behind a door, it plays an integral role in the gallery’s operations. Some plywood was cut wrong during installation; the new refrigerator is unpacked but not yet fully integrated into the kitchen front. As another door was being opened 400 meters away from the gallery, a family sat in the entrance of their spacious flat. They have listed a corner shelf — Eckwand Regal — on Austria’s main virtual marketplace, available for free, 950 meters from the gallery, on Bäckerstrasse, a galvanized metal plate Magnetwand Metall (125 × 200 cm), other 1,000 meters from the gallery a Käseglocke…‎ ‎The artists used such displayed objects from the marketplace as means of getting to know people within the district surrounding the gallery. Their process of collecting and picking up, rather than buying, also included making an inventory of the collected items.‎These items then appeared in different arrangements throughout the exhibition space; a material collection of things that have the potential of never entirely being resolved, of losing and acquiring meaning, of ever shifting.‎ ‎‎‎ Fotos: Michael Reindel‎Presented at:AG18 Gallery, Vienna, November 2025. As part of the QMA artist collective group show Holding, Becoming.Video: ‎ <a target="_blank" rel="noopener noreferrer nofollow" href="https://youtu.be/NegqUAd61QY?si=JWQLSmr1UUB6a39J" style="text-decoration: underline; text-underline-offset: 2px;">https://youtu.be/NegqUAd61QY?si=JWQLSmr1UUB6a39J</a>

Connectors

2025‎Together with 鄭宇辰/Allen.‎This collaborative performance emerged from an exchange between two artists, paired remotely for the exhibition 4x4 (UTC +01:00 – UTC +08:00) for the Independent Space Index, Vienna 2025. Rather than love letters their letters about love were prompted by the question “What do I want to say to the world right now?”, their exchange — written in their mother tongues; Mandarin and Spanish, became both a dialogue and a translation exercise. Each artist received a message in an unfamiliar language and had to translate it themselves to continue the conversation, exposing the emotional and linguistic labor involved in understanding another being.‎Through writing, reading, and translating, Laura and Allen reflected on the fragility of communication in contemporary relationships and on how love circulates through digital and cultural interfaces. In the live performance, they spoke about love for the first time using excerpts from their letters, mediated by online translation tools. The audience was invited to join the exchange, leaving their own love letters behind — extending this imperfect, collective conversation across languages, screens, and worlds.‎ Fotos: nathan c’ha and Tsai-Ju Wu‎ ‎‎ Presented at:Ok-Transit, Vienna 2025. As part of the exhibition 4x4 (UTC +01:00 – UTC +08:00) for the Independent Space Index curated by nathan c'ha and Tsai-Ju Wu.

Love Letter to the World/Love Letter to the www. 

&nbsp;The Biographies of Latin American Products &nbsp;&nbsp;2023Non-Market Identity: The Biographies of Latin American Products is a multimedia assemblage and a written thesis that explores individual narratives of what is overlooked as almost-perfect commodities; Latin American products that can be found regularly in common stores in Europe and other parts of the world. The work derives from interview-talks with Latin American migrants in Vienna, Stockholm, and Brussels. The subsequent gathering of the products they brought along to the conversations developed into the further process of sharing, comparing, and documenting the unseen side of Latin American products assimilated by the European market. Altogether Non-Market Identity tracks down these consumer goods through individual stories that resonate with larger and collective ones. Presented at:This work, including the written thesis, was the final work of Laura S. Oyuela F. in the department of Cross-Disciplinary Strategies at the University of Applied Arts Vienna.&nbsp; It was presented at &Ouml;sterreichische Postsparkasse as part of the CDS BA finalists 2023 exhibition&nbsp;Among Others.

Non-Market Identity 

(I)&nbsp;&amp;&nbsp;(II)&nbsp;2024‎The work&nbsp;Ángeles Caídos (Fallen Angels) is composed of two sawdust and debris carpets, which are imprinted with body-sized angel figures realized by the artist on site. Fallen Angel (I)&nbsp;and Fallen Angel (II) are made up of discarded wood found at the Nordwestbahnareal and the remains of Brut’s productions with dust and debris collected at brut Nordwest studios during the production of the exhibition Exactly As Imagined, transfiguring waste in primary material for art and directing the attention towards what’s left behind. Coming from the Honduran-catholic tradition of making alfombras de aserrín (sawdust carpets) for holy week processions, Ángeles Caídos becomes a secular act of devotion to matter at large. It brings together elements that were extracted, created or transformed, objects that were manufactured, used and abandoned in the specific context of a former good transportation station and in a broader context of capitalist logistics and imperialist infrastructures. Here, the fallen angels may be the humans and their ideology of never ending “progress”, who tried to master and indeed destroy the world. Or it may be the classic Western concept of “nature” as a gigantic and passive storage waiting to be exploited. Presented at:Fallen Angel (I)&nbsp;at brut nordwest studios, June 2024. As part of the exhibition&nbsp;Exactly As Imagined with the department of Site-Specific Art and Anne Faucheret.&nbsp;Fallen Angel (II)&nbsp;was part of the Performative Procession, starting at brut ending at Klima Biennale Wien 2024 Nordwestbahn Areal.&nbsp;

Ángeles Caídos

Objects 2 &amp; 32021-2022‎ Traces of Care (Work) is a set of five different constellations of objects that shift the perspective of addressing care-work from that of the human actors to the perspective of those ‘inanimate’ objects that exist within the specific environment of at-home-care-work. Far from leaving behind the presence of professional and non-professional care workers, as well as the presence of the people being taken care of, the appearance of common objects together with objects of care helps us realize that they show &nbsp;more than what they are alone. Neither the objects of care-work, nor the people who did them, use, need or even come in near contact with them, ex. as a relative carer, may be addressed separately from each other. This installations regards the relations happening between objects of care-work and other human and non-human actors as alliances or kinships, as described by María Puig de la Bellacasa’s reading of Haraway these two actions become trans-formative connections which merge inherited and constructed relations (Puig de la Bellacasa, 2017).&nbsp;These objects are magnifiers through which one can see not only the relevance of professional and non-professional care-workers, but also the history behind the tools that maintain, aid and support human lives, reminding us that science making is as well an affair of care. Reference:Puig de la Bellacasa, María. 2017. Matters of Care: Speculative Ethics in More Than Human Worlds, page:73. N.p.: University of Minnesota Press. Presented at:Sala Terrena, University Gallery, Vienna, 2022. As part of the exhibition Backyard Economy&nbsp;Initiated by Jenni Tischer and Stephanie Kitzberger. Find more about the exhibition here: https://www.fkw-journal.de/index.php/fkw/article/view/1682/1663&nbsp;Save Cultural Identity, Never At Home, Vienna, Jan. 2023. As part of the exhibition while we wait curated by Alivewire Collective.&nbsp;&nbsp;Backhaus Projects, Berlin, Nov. 2023. As part of Objects of Care curated by ASTRO.&nbsp; Fotos: Manuel Carreon Lopez (1-2), alivewire collective (3-4)

Traces of Care (Work)

2023 How come we have bananas all year round here in Europe?&nbsp; Banana Eaters is a lecture performance that questions the status of the banana fruit within the European market and culture. By exposing the inherent energetic properties of a banana, the performance is set from its beginning to peel away the image and symbol of the banana from the oblivion of its origin. Going through its colonial history, its current usage as simple, ready-to-eat food, to its prominent image within Western art, the banana becomes present within the lecture as the witness to many events across time, cultures, societies and histories. The physical and conceptual aspects that make up the performance reference Victor Grippo&rsquo;s works regarding the transformation of everyday elements into energy, making an analogy to the human taking-of-conscience, such as Analog&iacute;a I (1970) and Untitled (Energy of a Potato or Energy) (1972) which served as inspiration for this performative lecture. Ultimately, the performance piece Banana Eaters seeks to create a sense of awareness towards the origin of common products, in this case the banana fruit, which seem to be always available in Europe but are produced by labor, soil and energy outside the European zone.&nbsp; Banana Eaters - the reader is available through the artist.&nbsp; Fotos: Safia El Maataoui Presented at:The performance took place on January 31, 2023 in the framework of Cross-Disciplinary Capabilities at the department of Cross-Disciplinary Strategies in the University of Applied Arts Vienna.

Banana Eaters 

2021/2022 May 11, 2021 at Arenbergpark, 1030, Vienna, duration: 7 min. Performed by Bel&eacute;n Bini Bernadou, Laura S. Oyuela Flores, Safia El Maataoui and Sama Adhami. Concept: Laura S. Oyuela F. April 1, 2022 at Salesianergasse 26,&nbsp;1030, Vienna as part of April Fools Show, duration: 3-5 min. Performed by Laura S. Oyuela F. and the audience.&nbsp; Corrupci&oacute;n is a performance that confronts the veneer of democracy in Latin America, exposing the deep-rooted corruption that coexists with inequality. In this work, a brightly colored pi&ntilde;ata, symbolizing the festive facade of democratic ideals, is violently struck, revealing not candy and joy, but dirt and debris&mdash;materials that represent the ever-present corruption that infiltrates every corner of society. During the second iteration of the performance in Vienna, Austria in 2022 the tension escalated when the police arrived, adding a layer of real-world authority and suppression to the piece. Their presence underscored the performance&rsquo;s themes, mirroring how power structures attempt to control and conceal the darker realities of governance. Corrupci&oacute;n shatters the illusion of celebration, forcing viewers to confront the uncomfortable truth that beneath the colorful promises of democracy, there often lies only decay and violence. &nbsp;For the full video of the first performance please contact the artist.&nbsp;

Corrupción 

&nbsp;four and five, and six2023 In an attempt to reenact Adrian Piper&rsquo;s Catalysis series, &lsquo;Catalysis four and five, and six&rsquo; present themselves as works of art brought to the viewers without a previous formal preparation. Having as headquarters the University Library the work will oscillate between this point and the outside world. Catalysis four: I fill my mouth with a towel while doing research on Adrian Piper at the University LibraryCatalysis five: I play burp sounds recordings every five minutes on a loud speaker that I carry on myself while doing research at the University Library.&nbsp;Catalysis six: I tie helium balloons to myself for an entire day and wonder around the University Library and outside world. Fotos-video stills: Zenon HanappiFoto: Marianne Cadiz&nbsp;

Catalysis

2022Laura Oyuela together with Arina Nekliudova, Luna Maluna Gri and Teresa Trimmel. With inspiration from Ana Mendieta&rsquo;s&nbsp;Untitled(Facial Hair Transplants), the performance piece&nbsp;Hair to Facial Hair&nbsp;brings together the concepts of female gaze/appearance and collectiveness through a performative act of hair cutting, giving away, sharing, working together and appearance changing.For full video documentation contact the artist. Presented at:Lichthof A , Oskar Kokoschka-Platz 2, University of Applied Arts Vienna.&nbsp;

Hair to Facial Hair

2022

Corrupción (II)

2022 A narrative performance based on Mieko Kawakami&#39;s novel Breasts and Eggs and my own life as a woman with a uterus and tiny boobs,in it&#39;s second presentation it featured an: Invitation Table with deviled eggs, pickled eggs, pickled onions, bread, cheese and Breasts and Eggs novel by Mieko Kawakami Presented at:Klasse f&uuml;r Alle, Heiligenkreuzerhof, May 2022. As part of Learning by Heart initiated by Leander Gussman.&nbsp;Kunstverein Baden, Baden, Austria, Dec. 2022. As part of the exhibition playing string figures curated by Katja Stecher.

Breasts and Eggs...more like just eggs. 

2022 Series of wax covered photographs on canvas. The pieces come in pairs featuring pictures from Honduras and Austria (or other places in Europe) without a clear view on where is where and when the pictures were taken. &nbsp;-- Go back,I hoped one day&nbsp;to say hi,&nbsp;and the day came,&nbsp;I went.Went back,Back home and there&nbsp;I also felt like going back home.And all of these pictures,Oh, all of them!&nbsp;So similar, I took them there and here,&nbsp;here and there,now I take them everywhere with me.They are different,&nbsp;they are reflections ormy mind is just mirroring them altogether. Something smells like burning but no alarm goes off and I keep melting my thoughts together, and it clicks;Is not about here or there it&rsquo;s about all the fire in between. --Presented at:OK-transit, Paulusplatz 5, Vienna, Nov. 2023. As part of the exhibition it&#39;s a shared site where we can offer more than one surface&nbsp;curated by Tsai-Ju Wu.

Here and There and All the Fire In Between

Ongoing Started in 2020 the Private Posters series are very short poems by Laura painted with acrylic paint on paper, some have been put into public space.&nbsp; Presented at:&nbsp;2023. Some of the posters were part of the exhibition&nbsp;CRAVINGS - What Feeds Your Hunger?&nbsp;at Spektakel Wien curated by Sophie Schweizer and Elisabeth Handl.&nbsp;

Private Posters

Blocker, Jane. Where Is Ana Mendieta? USA: Duke University Press, 1999, p. 104 


2021Text prints, map, blood and band aid.&nbsp;The title is the citation of the text featured within the work.&nbsp;

Blocker, Jane. Where Is Ana Mendieta? USA: Duke University Press, 1999, p.

Blocker, Jane. Where Is Ana Mendieta? USA: Duke University Press, 1999, p. 111


2021 This duration performance is about the person who gazes, who is willing to look, but might forget that the passive act of gazing at someone else may &#39;touch&#39;, hurt, or cause something without actually being aware of it. The audience was invited to sit with me and gaze at each other, or just gaze at themselves in the mirror.&nbsp; Presented at:Paulusplatz 5, 1030 Vienna. Performance evening at the department of Site-Specific Art.

Gazing: you at me/at you 

&lsquo;Honduras experienced a week full of violence: murders, massacres and arrests of people allegedly implicated in different crimes are included in the count. This is the summary of the occurred events.&rsquo;&nbsp;El Heraldo, May 2020. 2021This is the Summary of the Occurred Events&nbsp;displays 21 symbolic ceramic sculptures that stand for 21 individuals whose deaths took place in the course of seven days in May 2020 in Honduras due to different violence related crimes. All these events were then mentioned in a newspaper article which reduced them to a few sentences and a photograph each.You may find the article here: https://www.elheraldo.hn/fotogalerias/masacres-violencia-honduras-resumen-sucesos-mayo-ultimasemana-NOEH1383349#image-3

This is the Summary of the Occurred Events (in Honduras between Sunday 24 and Saturday 30, May 2020)

2020Digital photographs + acrylic paintings.

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