This solo exhibition is a major anthology offering the opportunity to delve into the complex and poetic work of Bunga. It includes artworks from the Helga de Alvear Collection, works specially produced for the exhibition, as well as a site-specific monumental piece created in situ. In it, Bunga understands the spectator as another element of the installation: his experience integrates the work itself and transforms it.

A temporary cardboard structure in the Koski Gallery of the Sarasota Art Museum. Beginning and ending as a dialogue with the existing architecture, this installation transforms the gallery’s spatial configuration for the duration of the exhibition. By deploying light as his primary conceptual basis, just as James Turrell has done before him, Bunga explains that he sculpts light, which cannot be touched, but only felt viscerally.

Bunga’s first major anthological exhibition in Spain. It reflects on the temporalities of nature, its shelters and its living and organic qualities.

As a poetic approximation to the work of Maria Teresa Hincapié Bunga developed an action at MACBA that took the audience out of the museum’s space and to the streets.

This exhibition for the Museo Reina Sofía was shown at the Palacio de Cristal, where Bunga constructed one of his biggest site-specifics up until now, accompanied by a performance and a sculpture.

At Schirn’s La Rotunda, Bunga created a site-specific installation following the space’s architecture, using cardboard and home furnishing as his raw materials.

In his exhibition Mind awake, body asleep at Secession, Carlos Bunga explores the relationship between body and mind, which becomes especially manifest when sleeping.

For his first exhibition in Canada, A Sudden Beginning, Carlos Bunga was invited to produce two major site-specific works for the Museum of Contemporary Art (MOCA) in Toronto.

This exhibition, which previously took place at the Museum of Art, Architecture and Technology, is Bunga’s first major survey of his work, including films of his actions and performances, documentation and artworks in different formats.

The first exhibition exclusively dedicated to the role of drawing in Carlos Bunga’s oeuvre, with drawings, sketches and notes from his past work and new pieces produced for this occasion.

Animated by films of his actions and performances, along with documentation of a decade of works, this exhibition at the Museum of Art, Architecture and Technology is Bunga’s first major survey of his work.

At MoCAD, Bunga creates a site-specific installation shaped as a spiralizing maze within the museum’s gallery, echoing the building’s architecture through his preferred simple materials.

A large-scale in situ intervention on the museum’s rooms and patios, with ephemeral site-specific installations both outside and inside the Museo de la Universidad Nacional de Colombia.

At Museo Amparo, Bunga reflects on the idea of conservation and how hospitals and museums play a central role as spaces dedicated to the conservation of humanity or its cultural heritage.

Ecosystem is a winner of the ArtPrize international art competition. Bunga’s exhibition was part of SiTE:LAB at 54 Jefferson, the former Grand Rapids Public Museum. His site-specific interacted directly with original dioramas and showcases from the 1970s, which illustrate the diversity of the local wildlife, and blended in with the old building to create a new museology.

Using the concept “Khôra” - from Platos’s work - as a starting point, Bunga’s site-specific arquitectural construction at MUAC-UNAM reflects on constant oscillation between exclusion and participation, asking the audience to open up to other ways of receiving and being received within the museum’s space.

At Pinacoteca do Estado de São Paulo, Bunga presented the site-specific construction Mausoléu, made out of cardboard and adhesive tape and integrating 45 sculptures of the Pinacoteca Collection.

Bunga’s exhibition at Hammer Museum brought together past drawings, paintings, sculptures, and videos, and the new site-specific construction “Landscape”.

At Oficina para Proyectos de Arte, Bunga presents a site-specific installation. The labyrinth made of cardboard represents the complexity of thinking during the work process and invites the audience to intervene it.

Bunga approached the recent history of the city of Vigo, its architecture, urbanism and transformations, through a research process with field work, resulting in a series of drawings, photographs, collages, a video and a sound file.