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 With the passage of time it came to be seen as outdated and dingy, and it was demolished in the 1960s.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...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions...
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...
Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...
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...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
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...
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...
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...
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...