During her research on primitive currencies and cultural cannibalism, Cuevas came across the Donald Duck comic book issue “The Stone Money Mystery,” where Donald goes on a quest to find missing museum objects. Cuevas’s America (2006) is a wall painting of a comic Donald Duck wallowing in a heap of gold coins, alluding to Mexico’s postrevolutionary mural tradition. The mural’s background is one of the earliest illustrations of flora and fauna in the American continent, juxtaposed with a reference to America as having bountiful natural resources available to be exploited, and the historical use of comics as ideological tools. The piece also recalls the politics of the Mexican muralists Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco filtered through contemporary narratives of identity, otherness, and power. Driven first by multiculturalism in the United States, then by globalization worldwide, this Disney reference also refers to the notorious book How to Read Donald Duck: Imperialist Ideology in the Disney Comic , originally published during the Chilean revolution as Para Leer al Pato Donald before it was banned and burned. Writing from exile in 1975, the authors signed the preface to the English edition as follows: “Mr. Disney, we are returning your Duck. Feathers plucked and well-roasted. Look inside, you can see the handwriting on the wall, our hands still writing on the wall: Donald, Go Home!”
Minerva Cuevas’s socially engaged practice encompasses a range of strategies and mediums, including film, installation, performance, and site-specific public intervention. Cuevas aims to provide insight into the complex economic and political structures of the social realm, offering playful possibilities for their subversion. Often manifesting as small but poignant interruptions into the everyday realm, Cuevas’s modest acts infiltrate and disrupt economic and social systems, drawing attention to the aesthetics of popular imagery such as corporate branding, political symbols and slogans, and even comic books.
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
The Nightwatch , which is an ironic reference to the celebrated painting by Rembrandt, follows the course of a fox wandering among the celebrated collections of the National Portrait Gallery in London...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
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...
In Reyes’s words, “We should be able to extract the technological nutrients before we excrete our waste...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...