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:



Other related works, blended automatically

Los Mutantes
© » KADIST

Pedro Reyes

2012

Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...

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...

Lightning
© » KADIST

Paul Kos

1976

Parked on the shoulder of a single lane highway running through a desert landscape, Marlene looks over her shoulder from inside the car at a fierce storm looming over a distant horizon...

Perro en Tlalpan (Dog in Tlalpan)
© » KADIST

Gabriel Orozco

1992

Gabriel Orozco often documents found situations in the natural or urban landscape...

Interrupted Passage
© » KADIST

Julio Cesar Morales

2008

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...

Baobab
© » KADIST

Tacita Dean

2001

The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...

100 Boots
© » KADIST

Eleanor Antin

1973

Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...

Up All Night, Waiting for the Chelsea Hotel Magic to Spark my Creativity
© » KADIST

Mario Garcia Torres

2010

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...

¿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...

Mapa Mundi BR (postal)
© » KADIST

Rivane Neuenschwander

2007

Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...

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...

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...

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)...

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 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...