3 canvas; 47H x 35W inches each
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior. Rasgado wanders through the urban landscape in Mexico City and other major cities, looking for moments of intrigue in the dirt and debris. He captures these details by extracting materials from the sites and deploying them in the gallery. Raw materials thus become abstract paintings, which are both actively engaged with the site of their origin and politically and socially charged. Avenida Corona del Rosal (2011) is a section of wall extracted from the Mexico City street named in the title. It has been “painted” with an accumulation of byproducts of automobiles—diesel soot, dirt, tire and brake particles—to create an ironically poetic and beautiful portrait of the pollution that ravishes the city.
Pablo Rasgado reconfigures everyday life into new abstractions. Often thinking through architecture, public space, and the sculptural relationship to the human body, his work often carries political or social commentary.
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
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...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
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...
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...
In his posters, prints, and installations, Erick Beltrán employs the language and tools of graphic design, linguistics, typography, and variations in alphabetical forms across cultures; he is specifically interested in how language and meaning form structures that can be misconstrued as universal...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
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...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
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)...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
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...