Pedro Reyes’s works traverse the worlds of art, film, architecture, design, social criticism, and pedagogy. Educated as an architect, Reyes draws on this training to engage with utopian aspirations and the ongoing legacy of Modernism, often focusing on issues of scale and space while questioning pressing social issues through the incitement of individual or collective interaction. Although only a few of his works are directly located within the practice of building, almost all involve some kind of construction, whether they are objects, models, interiors, or social spaces. Reyes also makes use of strategies developed for communication or education, as well as everyday humor, to engage his audiences. Many of his works either allow large-scale public engagement or suggest a possible use: weapons turned to shovels, multilevel parks in old modernist buildings, and small spherical rooms. Like many avant-garde thinkers of the past, Reyes constructs new forms of architecture necessary for new ways of life.
Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Third Realm (2011) grew out of the artist’s long-term research of Indonesia’s colonial history and the processes of modernization and urbanization that have taken place there...
In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...
Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...