3 canvas; 47H x 35W inches each
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior. Rasgado wanders through the urban landscape in Mexico City and other major cities, looking for moments of intrigue in the dirt and debris. He captures these details by extracting materials from the sites and deploying them in the gallery. Raw materials thus become abstract paintings, which are both actively engaged with the site of their origin and politically and socially charged. Avenida Corona del Rosal (2011) is a section of wall extracted from the Mexico City street named in the title. It has been “painted” with an accumulation of byproducts of automobiles—diesel soot, dirt, tire and brake particles—to create an ironically poetic and beautiful portrait of the pollution that ravishes the city.
Pablo Rasgado reconfigures everyday life into new abstractions. Often thinking through architecture, public space, and the sculptural relationship to the human body, his work often carries political or social commentary.
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
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...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
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...
In Reyes’s words, “We should be able to extract the technological nutrients before we excrete our waste...
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...
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)...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
Gabriel Orozco often documents found situations in the natural or urban landscape...
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...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
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...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
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...