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...

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...

Cemetery #1
© » KADIST

Gabriel Orozco

2002

Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...

Vulnerabilia
© » KADIST

Jonathan Hernández

2008

In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...

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...

Mimbres pottery kill hole sequence
© » KADIST

Mariana Castillo Deball

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...

¿Quién medirá el espacio, quién me dirá el momento?, 1 (columna alfarero)
© » KADIST

Mariana Castillo Deball

2015

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...

Charco portatil congelado (Frozen Portable Puddle)
© » KADIST

Gabriel Orozco

1994

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)...

The Transparencies of the Non-Act
© » KADIST

Mario Garcia Torres

Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...

El hombre que hizo todas las cosas prohibidas
© » KADIST

Carlos Amorales

2014

Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...

Third Realm Venice Series #2
© » KADIST

Jompet Kuswidananto

2011

Third Realm (2011) grew out of the artist’s long-term research of Indonesia’s colonial history and the processes of modernization and urbanization that have taken place there...

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...

From the series Las Mariposas Eternas (the Eternal Butterflies)
© » KADIST

Adrian Villar Rojas

2010

The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...

Useless Wonder
© » KADIST

Carlos Amorales

2006

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...

Swimming in Rivers of Glue
© » KADIST

Julieta Aranda

2016

The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...

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...