Study for a Recycling Device

2005

11.8Hx 31.5W x 7D inches

Pedro Reyes

location: Mexico City, Mexico
year born: 1972
gender: male
nationality: Mexican
home town: Mexico City, Mexico

In Reyes’s words, “We should be able to extract the technological nutrients before we excrete our waste. There is a missing organ in our social metabolism which would work as a stomach or intestines. The Recyclone is a device made of plastic containers that fit into each other. (The plastic boxes are the equivalent to the ‘vellum,’ which are the tiny hairs that stick out from the intestinal wall to absorb nutrients). The permutation of this plastic bins could be customized to satisfy anyone’s recycling needs.” This work offers the possibility of a more visually appealing and adaptable recycling mechanism, assisting in the conscientious extraction of reusable material from industrial products.


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.


Colors:



Related works featuring themes of: » Social Action, » Mexico, » Violence, » Political, » Contemporary Conceptualism, » Sound Art, » Antiquity as Subject, » Chance, » Contemporary Diy, » Mexican

Canned Laughter
© » KADIST

Yoshua Okón

2009

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
© » KADIST

Abraham Cruzvillegas

2004

Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...

Sunday (Domingo)
© » KADIST

Rivane Neuenschwander

2010

In this video, a parrot chews on seeds printed with punctuation marks...

100 Boots
© » KADIST

Eleanor Antin

1973

Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...

Espectacular cortina
© » KADIST

Pia Camil

2012

Camil has made numerous paintings and photographs of halted projects along Mexico’s highways (she calls them “highway follies”), and of abandoned billboards that look like theater curtains dramatizing failed capitalist strategies...

Borrando la Frontera
© » KADIST

Ana Teresa Fernández

2011

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...

Why fear the future?
© » KADIST

Carlos Amorales

2005

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...

Untitled (Ticket Roll)
© » KADIST

Gabriel Kuri

2010

Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...

Up All Night, Waiting for the Chelsea Hotel Magic to Spark my Creativity
© » KADIST

Mario Garcia Torres

2010

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...

Perro en Tlalpan (Dog in Tlalpan)
© » KADIST

Gabriel Orozco

1992

Gabriel Orozco often documents found situations in the natural or urban landscape...

Mapa Mundi BR (postal)
© » KADIST

Rivane Neuenschwander

2007

Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...

Baobab
© » KADIST

Tacita Dean

2001

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...

The American War
© » KADIST

Harrell Fletcher

2005

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...

Sirens
© » KADIST

Paul Kos

1977

Taking its title from the eponymous mythological creature—famously featured as sea nymphs in Homer’s Odyssey...

Avenida Corona del Rosal
© » KADIST

Pablo Rasgado

2011

Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...

Undocumented Intervention
© » KADIST

Julio Cesar Morales

2006

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...