Fundación Proa, located in the neighborhood of La Boca (Buenos Aires), presented “Espejos de México” (Mirrors of Mexico), with emblematic works by Mexican contemporary artists Julieta Aranda, Abraham Cruzvillegas, Rafael Lozano-Hemmer and Damián Ortega. The works propose universal readings on human issues (personal and social) and the relationship with technologies (uses and customs).
The exhibition proposes an atypical symbiosis, through artists of the same generation who were first recognized internationally before being recognized at home, who enter from different perspectives in the fragmentation; the sum of the parts that can compose an idea -nation, vocabulary, history, industry, etc- but that does not stop being an illusion and that has self-construction as its axis. Thus, in the different spaces you can visit the video installation of Julieta Aranda, the “constructed” works of Abraham Cruzvillegas, the multimedia art of Rafael Lozano-Hemmer, and the expanded art of Damián Ortega.
At the entrance is “Stealing one's corpse” (an alternative set of support points for an ascent to darkness), where Julieta Aranda (1975) proposes, through a video and installations, “a science fiction story that problematizes about freedom”, based on “traps for animals of different types and times”. According to the exhibition organizers, the artist “investigates the link between the prey and the predator, with the figure of the human being, from her point of view, crossed by this duality: he is both the hunter and the hunted. So, he argues, there is no way out, except madness”.
In the next room, Abraham Cruzvillegas (1968) presents a series of paintings on large canvases, drawings with familiarity to shodō, five canvases made for the exhibition and intervened being on the floor with a broom, a mural collage with papers that he has accumulated for 3 decades, which is the only one made in Mexico; and sculptures created for the show from leftovers of metallurgical plants and natural materials, such as earth. For the artist, all these works are considered self-portraits.
Next is “Matriz de voz”, a sound-visual piece by Rafael Lozano-Hemmer (1967), the first artist to represent Mexico at the Venice Biennale in 2007, who specializes in the production of platforms for public participation, in which through technology - robotic lights, digital sources, computerized surveillance, multimedia walls, and telematic networks - he manages, as in this case, to generate transhuman perspectives. The work is a luminous system deployed horizontally, which flickers from the reproduction of some 800 recorded voices that fuse. At one end, the visitor can press the intercom button on an electric buzzer system to enter a phrase into the choir, which begins to replicate and slowly disappears into the chorus.
Finally, on the second floor of the La Boca space, Damián Ortega (1967) presents “Cosmic Thing”, an expanded art piece that has traveled the world, in which he dissects a '98 Volkswagen Beetle to suspend its parts in space, creating a sort of frozen explosion that suggests both the deconstruction of the piece and the fragmentation of the ideas it represents. In addition, a video installation “Sobre Escarabajo” (On Beetle) is presented, in which a funerary burial of the Beetle he had inherited from his father is observed.
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| Damian Ortega |
At the entrance is “Stealing one's corpse” (an alternative set of support points for an ascent to darkness), where Julieta Aranda (1975) proposes, through a video and installations, “a science fiction story that problematizes about freedom”, based on “traps for animals of different types and times”. According to the exhibition organizers, the artist “investigates the link between the prey and the predator, with the figure of the human being, from her point of view, crossed by this duality: he is both the hunter and the hunted. So, he argues, there is no way out, except madness”.
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| Julieta Aranda |
Next is “Matriz de voz”, a sound-visual piece by Rafael Lozano-Hemmer (1967), the first artist to represent Mexico at the Venice Biennale in 2007, who specializes in the production of platforms for public participation, in which through technology - robotic lights, digital sources, computerized surveillance, multimedia walls, and telematic networks - he manages, as in this case, to generate transhuman perspectives. The work is a luminous system deployed horizontally, which flickers from the reproduction of some 800 recorded voices that fuse. At one end, the visitor can press the intercom button on an electric buzzer system to enter a phrase into the choir, which begins to replicate and slowly disappears into the chorus.
Finally, on the second floor of the La Boca space, Damián Ortega (1967) presents “Cosmic Thing”, an expanded art piece that has traveled the world, in which he dissects a '98 Volkswagen Beetle to suspend its parts in space, creating a sort of frozen explosion that suggests both the deconstruction of the piece and the fragmentation of the ideas it represents. In addition, a video installation “Sobre Escarabajo” (On Beetle) is presented, in which a funerary burial of the Beetle he had inherited from his father is observed.
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| Abraham Cruzvillegas |
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| Rafael Lozano-Hemmer |
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| Damián Ortega |
“Espejos de México"
Location: PROA Foundation, Av. Don Pedro de Mendoza 1929, C1169 CABA, Buenos Aires (Argentina)
Opening Date: 16th March 2024
End Date: 11th June 2024
Working hours: Thursday-Sunday: 12pm to 19 pm
Official website: https://www.proa.org/esp/
Artists:
Abraham Cruzvillegas
