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 With the passage of time it came to be seen as outdated and dingy, and it was demolished in the 1960s.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...
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...
After being cast, the resulting resin block used in JCA-25-SC was cut into thin slices obtaining a series of rectangular shapes that resemble ceramic tiles...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
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...
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...
Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
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...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
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...
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...
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...
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...