Art critic, curator, editor and researcher.

Specialized in Latin American art, he is also a PhD candidate at UAM in Spain, which he is completing with an international mention at PUCSP (Brazil). His doctoral work centers on alternative museums in Latin America.  He has curated over 30 exhibitions in countries such as Chile, Uruguay, Spain, México, Brazil, Bolivia, Argentina, Costa Rica or Honduras. He has been editor in chief of Arte al Límite, and editor-contributor of Momus.

Founder, director and editor of the art criticism platform Art on Trial.

Want to send tips, work together, or just connect? Feel free to reach out:
jjsantosmateo (at) gmail (dot) com



Curaduría de Latinoamérica I (Cendeac), Curaduría de Latinoamérica II (Cendeac), Juicio al Postjuicio (Para qué sirve hoy la crítica de arte) (Ministerio de Cultura), Gran Sur (co-autor. Subdirección General de Bellas Artes).

Select Chapters in books

“Introduction”, in Greatest Hits. Arte en Nueva York, 2001-2015 (Cendeac), “Sao Paulo Biennial”, in Momus, a return to art criticism, Vol I 2014-2017 (Momus), “Ann-Sofi Sidén”, in Fluid Street: alone together (Kiasma Museum, Finland).

Select writings

Word-Weapons: Cecilia Vicuña: Seehearing the Enlightened Failure, for Bomb Magazine, The Aesthetic Dimension of Erasure: Voluspa Jarpa on Twenty Years of Recovering Trauma, for Momus, Ai Weiwei vs Antonio Vega Macotela, for Art on Trial, Residencias de artistas confinadas por la pandemia, for El Pais, Juan José Santos in conversation with Petrit Halilaj, for Spike, Deep Sea Mining in the Age of Climate Emergency: An Interview with Kristina Õllek, for Berlin Art Link, Behind the Curtain: Beatriz González’s Political-Decorative Art, for Momus, Sexo con plantas en la Manifesta de Palermo, for Sublime, Neo-Avant-Gardes au Chili, for Art Press, The Strangeness of the Everyday: Skulptur Projekte Münster’s Deep Grey, for Momus, Diez años de la estafa Hirst, for El País, For Those Without History, a Memorial Museum in Chile, for Hyperallergic, While the World Burns: The 32nd São Paulo Biennial’s Political Disregard, for Momus, The Impossibility of Utopia, for Hyperallergic, Freeing Latin American Art from Eurocentric Curating, for Momus.



Moving Statues, Museo Nacional de Escultura, España, Al Dictado (junto a Isabella Villanueva), Museo de Arte Moderno de Medellín, Colombia, Sobreexposición, EAC, Espacio de Arte Contemporáneo, Uruguay, Selección Española, Museo de la Solidaridad, Chile, Intervention, SUBTE, Uruguay, Sobreexposición, Museo de Arte Contemporáneo, Chile.


Instantáneas de un viaje en tren (Isidoro Valcárcel Medina), Museo Nacional de Arte, Costa Rica, Coda: Acmé (Blanca Gracia), Centro Párraga, España, El Rapto (Norton Maza), Museo Nacional de Bellas Artes, Chile, 12 ans aprés (Elina Brotherus), Galería Cámara Oscura, España, Viva Chile, mierda (PSJM), Galería Metropolitana, Chile.


The ballad of Martin Gubbins: Raising the flag on Chile, 76th Annual Conference at SECAC, Richmond, United States, Zoom in October, “Chilean conexión”, Berlin, Germany, Ojoplático. La crítica; susto o muerte, Máster en Historia del Arte Contemporáneo y Cultura Visual, Universidad Autónoma de Madrid, Universidad Complutense de Madrid y Museo Nacional Centro de Arte Reina Sofía, España, The Resistant Body, Bern and Zurich University, Switzerland, Laboratorio de crítica de arte, Tabacalera Promoción del Arte, Ministerio de Cultura de España, España, Processos Curatoriais, Arte! Brasileiros, Brasil, Superflex, The Corrupt show and the speculative machine, Museo de Arte Contemporáneo, Chile.