29,7 x 41,3 cm
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. and abstract silhouetted motifs, in a black and white palette, are combined to create a world lodged between fantasy and reality typical of the tarot game. Airplanes, letters, naked women, Osama Bin Laden, Che Guevara, mythological figures, skulls, wrestlers’ masks are some of the visuals that populate this printed object. It was distributed to fortune-tellers for their interpretation of the future. It is also presented framed and hung in a grid or as an artist’s book. Jennifer Allen writes in artforum (Summer 2005): “Surfaces can serve blindness and vision: images, decoration and destiny. While linking clairvoyants, psychologists, and art critics as interpreters, Amorales also levels the hierarchy between artists, whose creations are generally treated as singular, and actors and musicians, who often interpret works that have already been produced or performed by others. In the era of postproduction – where images tend to be ready-made – the artist is simply a point of distribution, not the origin of images.” An edition exists in the collection of the Museum of Modern Art, New York.
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance. Central in his work is the construction and alteration of what he calls his Liquid Archive, a collection of images, narratives, drawings, shapes, and ideas that he uses to construct his unique visual language—a critical and stimulating space for fantasy, reality, and the blurring of the two. Amorales creates tensions between revealing and hiding the personal and the universal in his often-ambiguous and fluid constructions.
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...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
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 Reyes’s words, “We should be able to extract the technological nutrients before we excrete our waste...
Stretching between San Pedro and the beach in Altata, Sinaloa, there is a 40 km road where there are three invisible borders controlled by rivalling armed groups...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
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 Orozco often documents found situations in the natural or urban landscape...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
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...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...