Daniela Leon Wiki
Daniela Leon was born in Los Angeles, California and began her career at the age of 8 when she made her first television appearance as a guest performer on the ABC/BBC show “Dancing with the Stars”. She went on to perform on The Maury Show – “Most Talented Kids 2010” and appeared on the cover of American Dance Magazine.
Daniela Leon Biography
After her first appearance on national television, she fell in love with working with talented individuals in the film industry and developed a passion for acting.
She went on to star in many short films, music videos, commercials, and TV shows, while also balancing her love for education. She hopes to pursue a degree in film at UCLA, and later attain a master’s degree in drama at Yale University.
Daniela Leon Age
Daniela was born in Los Angeles, California and began her career at the age of 8 years old. when she made her first television appearance as a guest performer. She was raised in Anaheim, California. Her date of birth is still under review it will be updated soon.
Daniela Leon Family
She was raised along with her two younger brothers, Blake and Blaine. She loved living near Disneyland and having Angels stadium, right around the corner of her home. her parent’s name is posted it is still under review and it will be updated soon.
At the age of seven, her family decided to leave behind the Californian sun and head to Kansas, where they’ve lived since. Growing up, she always had a passion for news and thanks to local news, she learned how to speak and write in both Spanish and English.
She eventually graduated from Gardner Egerton High School with honors and was accepted into Kansas State University’s Mass Communications program. While at KSU, Daniela received a full-ride journalism scholarship and received multiple awards for her journalism work from the Kansas Association of Broadcasters and the National Association of Hispanic Journalists.
During her senior year, she joined the WIBW-TV news team in Topeka Kan. as a news reporter and eventually earned a weekend anchor spot. During her two years at WIBW, she won a Kansas Press Club award for her feature writing piece, “A Son’s Love” and earned honorable mentions from multiple firefighting organizations for her investigative piece on the health hazards they are exposed to while on the job.
When she’s not working, you can find her running around town, watching her beloved Angels on TV, and simply enjoying her home.
Daniela Leon Husband
The information about her married relationship will be soon. The information is still under review.
Daniela Leon Children
Information will be updated soon.
Daniela Leon Height
Information will be updated soon.
Daniela Leon Salary
Her salary is estimated to be between $10k $50k per year.
Daniela Leon Net Worth
Daniela has an estimated net worth of $80thousand dollars.
Daniela Leon on ‘Biennales, Triennials and Exhibitions’
Biennales, Triennials, and Exhibitions
Disassembled by the hands who assembled it, repacked, reshipped, returned or left abandoned where once was – though momentarily – a home. Where do biennales, triennials, and exhibitions all go?
There are many texts and talks on architecture exhibitions that explore the tenuous relationship between curating and exhibiting architecture. Positions that explore the distinction between representation and presentation. As well as the architect’s role as curator, as an exhibitor and as the viewer, in parallel to a public view. It is a unique typology that exists simultaneously for the public and for the discipline.
One facet of architecture exhibition that remains in the background is its after-life. If lucky, an exhibit gets a second of the life of its own, typically in the fashion of a Grand Tour making a pilgrimage to other cities until the exhibit has exhausted its time. The notion of time here is critical. Architecture exhibitions, in all its forms, are a reflection of a precise and present moment in time.
Braced between reflecting on the past and projecting towards a future, architecture biennales and exhibitions do not produce records of history, nor do they propose future speculations. Architecture exhibitions resonate in and reflect their present. What happens to biennales, triennials, and exhibitions once the present becomes past?
Unlike art, architecture exhibits are not swept up by private collectors. In rare cases, they are acquired by private institutions for a nominal fee and more typically in the form of a donation. They may not even be claimed by the architects who made them, with cumbersome costs of logistics and shipping. More probable, remnants are dismantled and thrown out, scattered into domestic spaces, offices and if lucky personal archives.
In any case, the agency of the exhibition’s after-life lies in its remnants of photos, publications, lectures, and articles. This material and oral record transfer the value – intellectual and monetary – to the representational material of the exhibits. Coincidentally completing the paradox of exhibiting architecture in full circle.
The exhibition as its own typology holds many perspectives. Some call for a critical reexamination of medium and model. Others find it a place to generate new and productive thought that feeds back into their work. While those who dedicate their life’s practice to exhibiting architecture see each new exhibit as an architecture project in itself. Perhaps exhibitions are more similar to buildings then they appear to be.
Just as a building, in a way, only exists in the present, until it no longer serves its purpose then torn down, remodeled or preserved for the next. This isn’t a suggestion to keep all things; there is a vitality in looking forward. Though each exhibit’s fate may be set, questions of waste and value seem to linger maybe simply asking: what for? On January 18th, over 140 exhibits will be dismantled in Chicago.
Between Venice, Chicago, London, Shenzhen, Milan, Istanbul, Tallinn, Lisbon, and Oslo alone there are over 1300 exhibits created every two years. These projects aim to imagine, propose and test issues in the built, urban and ecological environments their frameworks set out. However, where does the value in our work lie and does any exist beyond 1300plus ideas, thoughts, and memories?