22.5H x 21W x 4D inches
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials. The title is a reference to a building Frank Lloyd Wright designed for Tokyo, which was completed in 1923. In its heyday, which lasted until after World War II, the hotel was reserved for elite personnel, many of them foreigners. With the passage of time it came to be seen as outdated and dingy, and it was demolished in the 1960s. Cruzvillegas’s work ironically and humorously symbolizes the hotel imposing presence. He presents us with the ultimate symbol of democracy—a phonebook—pierced with arrows. The sculpture is a symbol of solidarity imperiled by imperialism.
Abraham Cruzvillegas is known for his intricate and elaborate sculptures and installations made from found and scavenged materials. He often fashions useful objects out of repurposed parts and urban detritus. Cruzvillegas is inspired by the resourcefulness he has witnessed in impoverished rural and urban areas, where people build houses and necessary objects out of recycled materials such as cars and bottles.
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
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...
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...
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...
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...
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...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
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...
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...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...
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...
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...