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Teaching & research interests

• Media Art History
• Feminist Art and Epistemologies
• Research-Creation
• Aesthetics of Interaction
• Art and Activism
• Digital Humanities
• Latin American Art and its Diasporas
• Science and Technology Studies

About Gabriela鈥檚 Research and Art Practice

Gabriela Aceves Sep煤lveda is a media artist and cultural historian with a research focus on feminist media art, research-creation and Latin American art and its diasporas. In SIAT, she directs the Critical Media Arts Studio (cMAS). She is the author of the award-winning book Women Made Visible: Feminist Art and Media in post-1968 Mexico (Nebraska Press, 2019).  Her work has been published in the Feminist Media Histories Journal, Leonardo Music Journal and Media-N the Journal of the New Media Caucus, among others. She produces video installations, sculptures, digital projects, print media and live performances that investigate the body as a site of cultural, gendered and techno-scientific inscriptions. Gabriela is a member of art/mamas, a Vancouver-based collective of artist mothers and is the Vancouver regional coordinator of TFAP (the Feminist Art Project) Rutgers University.

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cMAS is an interdisciplinary research studio that experiments with research methods and theories to explore the implications of working across media and disciplines. Members of cMAS develop work that interrogate how old and new technologies have and continue to shape our sense of self and the environment informed by media studies, feminist epistemologies postcolonial, and decolonial theory.

If you are interested in joining cMAS visit our

• Aceves Sep煤lveda, Gabriela (2023).鈥淩e-enacting/mediating/activating: Towards a collaborative feminist approach to research-creation.鈥� Technoetic Arts: A Journal of Speculative Research, Special Issue: 鈥榃omen in Art and Science鈥�, 21 (2): 175鈥�91. 
• Zinovieff, F., Droumeva, M., & Aceves Sep煤lveda, G. (2023). 鈥淓lephant in the Matrix: Ethical Practice and Decolonial Praxis in Sonic Research.鈥� Resonance: The Journal of Sound and Culture, 4(4), 325鈥�347.  [https://doi:10.1525/res.2023.4.4.325]https://doi:10.1525/res.2023.4.4.325
• Klassen, L. and Aceves Sep煤lveda, G. (2022). 鈥淎mplified Listening to Race and Gender in Fiamma Montezemolo鈥檚 Echo and Stephanie Dinkins鈥檚 N鈥橳OO 鈥滻n Media-N, Journal of the New Media Caucus. Special issue No Template: Art and the Technologies of Race, Spring 2022, Vol. 18, Issue 1. 
• Sun prOphecy, Zinovieff, F., Aceves Sep煤lveda, G., and Steve DiPaola (2022). 鈥淏odies as Borders: Traces and Flows of Connection.鈥� Surrey Art Gallery Urban Screen, February 12  to May 1, 2022.
• Aceves-Sepulveda, G. (2020).鈥淒igital Resources: Museo de Mujeres Artistas Mexicanas, MUMA.鈥� In Oxford Research Encyclopedia of Latin American History. Oxford University Press, 2020. 
• Zinovieff, F. and G. Aceves Sep煤lveda (2020).鈥淢aritime Boundaries: Sonic Blueprints of The Geopolitical鈥� In Leonardo, Special Issue on Sound and Geopolitics, Vol. 30, December 2020, 118-123.
• Aceves Sep煤lveda, G. (2019).Women Made Visible: Feminist Art and Media in Post-1968 Mexico. (University of Nebraska Press)

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• PhD in History, University of British Columbia, Canada.
• MA in Art History, University of British Columbia, Canada.
• MFA in Fine Arts, York University, Canada.
• BA in Graphic Design, Universidad Aut贸noma de Guadalajara, Mexico.