Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions. Her interests and the resulting aesthetic projects seem couched in the 19thcentury sideshow, more than the contemporary art world. In her delicate drawings, Adaptando la Carta, layers of tracing paper reveal different hand positions, concealing and revealing a playing card hidden among the curves of the magician’s hand. The artist’s fixation on the hand is persistent throughout the works, as she considers the limits between reality and illusion.
Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions. Her interests and the resulting aesthetic projects seem couched in the 19th-century sideshow, more than the contemporary art world.
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...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
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...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
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...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
In his posters, prints, and installations, Erick Beltrán employs the language and tools of graphic design, linguistics, typography, and variations in alphabetical forms across cultures; he is specifically interested in how language and meaning form structures that can be misconstrued as universal...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...