Elektra KB is a Latin American immigrant artist, living and working in Brooklyn, NY. Their work engages corporeal sickness and disability, with utopian possibilities and alternative universes. KB investigates gender, migration, transculturality, and abuse of power. Their work entangles mutual aid, political action, and communication, often with a documentarian-sci-fi-like hybrid approach, exploring utopia and dystopia in juxtaposition with our world and a parallel universe. Building spaces engaging with concepts such as learning or healing, through the reinterpretation of quotidian objects and symbols, such as the: Immigration Checkpoint, Freedom School, or Hospital Room. They work cross: textiles, photography, video, installation, and performance.

They graduated with an MFA from Hunter College in 2016 and received a DAAD award, pursued at UDK—Berlin with artist Hito Steyerl (2015). KB’s work has been written about in: Art Forum, Artnews, Hyperallergic, BOMB, The Guardian and The New York Times, among other publications. Some recent shows include: Nobody Promised You Tomorrow: 50 Years After Stonewall(2019) at the Brooklyn Museum, and Abortion is Normal at Eva Presenhuber, NY (2020). They were chosen as Artsy’s: "Women Artists Who Deserve Our Attention…" in 2020. Their works were acquired by the Yinchuan Museum of Contemporary Art in China, The Fondation Pour l'art Contemporain.


KB’s practice is interdisciplinary encompassing mainly: Video, photography, sound, performance and textile works. Her work addresses concerns such as migration and global power dynamics trough a platform of mythology; coexisting with a documentarian and conceptualist approach. Her work takes place in the middle of two worlds: the ‘Cathara Autonomous Territory’ and our world. The Theocratic Republic of Gaia is a utopian-dystopian world; a parallel universe fighting between the tensions built on a totalitarian state and the revolutionary Cathara Insurgency, situating itself close to the political sci-fi genre. Her body of work is of a performative nature concerned with the post-colonial and decolonial discourse. It is charged with critical humor and informed by the aesthetics of colonial art tropes and the ongoing armed conflict she grew up with.

KB’s site-specific installations and works on fabric deal with: the body, gender, mobility, immigration, the nature of power, authority and its antagonists. From the prison industrial complex to authority symbols –such as the immigration checkpoint—, adding protest signs as responses and visual cues of shifting power. Exploring the meanings and relationships of the concept of power and how it manifests today in society.

Her work ties utopism, political theory, art and activism through a variety of mediums.



• Disability Access Rider