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.
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...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
In Reyes’s words, “We should be able to extract the technological nutrients before we excrete our waste...
Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...
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...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
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...
Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened...
Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...