Galerie Chantal Crousel Abraham Cruzvillegas Abraham Selected Press

Galerie Chantal Crousel here.’ walk throughtheinstallation.‘Itnowtalksaboutlocalidentities. You canseethere’s aconviviality planter hasturnedgreen.‘Thepieceisevolving,transforming,’ saysadelighted Cruzvillegas aswe So, whenIcheckinon‘EmptyLot’ I’mrelievedtodiscoverthatitisn’t emptyanymore.Nearlyevery barren. A senseofexpectationhungoverthepiece. ning soiltakenfromadifferent locationinLondon.But,withnothinggrowingthem,itlookedabit October, itdrewmixedreactions. The installationconsists of240triangularwoodenboxes,eachcontai- When Mexicanartist Abraham Cruzvillegas’s ‘EmptyLot’ openedin Tate Modern’s Turbine Halllast February 152016 Matt Breen What's sproutingin Tate Modern’s Turbine Hall? Matt «What’ Breen. s sprouting inTate Modern’ sTurbine, February Hall?»,Time OutLondon 15,2016. http://www.timeout.com/london/blog/whats-sprouting-in-tate-moderns-turbine-hall-021516 Joe Humphrys Galerie Chantal Crousel has alreadysprung. months forplants.’ The restofLondonmightbestillbattlingthroughwinterbut,at Tate Modern,spring bine Hall. The showisrunningforanothertwomonths,and asDaveypointsout:‘They’retwogood gas. ‘They’regesturesofhope.’ It’s undeniablyhearteningtoseelifegrow in theausterityof Tur- And whatdoestheartistmakeoftheseinterventions?‘Idon’t haveaproblem withit,’ saysCruzville- compressed soil,sproutinglittlegreenshoots.‘That’s aseedbomb.’ Tube videosofguerrillagardenersthrowingbeansandseedsintothebeds.Look!’ Hepointstoaballof apart from“noclimbingin”,’ says Tate curatorMarkGodfrey. ‘Soitwasinterestingtodiscover You- Not thatthebedshavebeenleftentirelyuntended.‘We didn’t wanttoimposeanyrulesforvisitors, soil. ‘Ifthiswaslefthere,itcouldendupbeing70feettallandgoingthroughtheroof!’ saysDavey. amount ofopium.’ InClaphamCommon’s planter, anoaktreesaplingispushingitswaythroughthe school inFinchley. ‘Noneed forconcern,’ Vickery assuresus.‘Fewpoppiesproduceaworthwhile says Vickery), whileopiumpoppieshavestartedtogrowin–waitforittheearthfromaprimary Heath, chinesechivesandgarlicmustardhaveappeared(‘Probablyescapedfromsomeone’s garden,’ expect –stingingnettles,dandelionsandthoseyouprobablywouldn’t. InthesoilfromHampstead of theSouthLondonBotanicalInstituteareonhandtoidentifythem. There arethoseyou’dprobably Many different plantsarejostlingforspace,intrueLondonfashion.Roy Vickery andSarahDavey Matt «What’ Breen. s sprouting inTate Modern’ sTurbine, February Hall?»,Time OutLondon 15,2016. http://www.timeout.com/london/blog/whats-sprouting-in-tate-moderns-turbine-hall-021516 Galerie Chantal Crousel Ariane van deVen. Arianevan «CoBoSocialfeatures deVen at ChantalCroussel Gallery, Cruzvillegas onAbraham sel-2015/?utm_campaign=partnership_art&utm_medium=article&utm_source=chantal-croussel-gallery to theicecream shopto buy halfaliterofmameysorbet(…). Blind selfportraitlistening to Arsenio Rodríguezsinging‘Dame unCachitoPa’ Huelé’ asIwalkback accumulation ofyellow acrylic paintedonpaper, reflects thesenseofhumourartistswithits title: The Mexicanconceptual artistisknownforhisworkwithfoundobjects. high spiritoftheLatino!Herearetop10LatAmartiststocontinuefollowafterMiami Fever! Latin American artists.NobodywoulddenythatMiamifindsitsbestmoodinthecompanyoffiery As atrendexpert,it’s becoming ahabitformetogoMiamiwithclearintentioncheckoutthe their workinothercontinents. region, Latin American artists aregettingmoreandinternationalattentionchancestoshow Rafael Soto,FernandoBotero,etc.,amongmanyothers. With therisingeconomicpowerfrom including Wilfredo Lam,RobertoMatta,Rufino Tamayo, Joquin Torres Garcia,CarlosCruzDiez,Jesus works ofmostlyLatin American artcurrentlyshowingatthemuseumaspartofcollection. Artists In deed,collectorsandgalleryownersfromotherregionsrushedtotheLAAMseeover1,000 showcasing ofnewandoldtalentsfromLatin America. ming artfairsinDecembereveryyear, Miamiisbecomingthecentrestagefordiscoveriesand With itsgeographicalspecificity, theopeningofLatin American ArtMuseum(LAAM)andthebloo- 10 Jan2016 Ariane vande Top 10Latin American Artists toFollowinMiami Art Basel2015 https://www.cobosocial.com/uncategorized/top-10-latin-american-artists-to-follow-in-miami-art-ba- Ven Miami ArtBasel2015»,CoBoSocial,January 10,2016. @Chantal CrousselGallery Abraham Cruzvillegas This particularpiece,an Galerie Rachel EmptyLot,Turbine Spence. Cruzvillegas: «Abraham Hall,Tate London»,Financial Times.com Modern, , October13,2015. Chantal Crousel A similaridealismanimates EmptyLot.Eachof itsallotmentshasbeen filled withsoilscavenged from “red wedge”boldlyamong “thewhites”. tivists. Those tidy, blank trianglescannotbutevoketheUtopianpolitics ofElLissitzkyashesenthis Squint outthedetailand youaregazingatacontemporary, minimalistcousin oftheRussianconstruc- magnificent volumesonsteppedterraces. rows oftriangularplotsfilledwithsoil,bordered bywoodenframes,streambackthroughthehall’ The mezzanineleveldeliversadifferent perspective. Foreandaftoftheviewingplatformimmaculate ding, itsperimetersborderedbywillowylightsthat loomaboveitlikeilluminatedmasts. Lot rearsupaboveyouliketheprowofavastship, itstriangularforedeckperchedonakeelofscaffol- The three-dimensionalrealitydoesnotdisappoint. Enterthe Turbine HallonthelowerlevelandEmpty calls toLondonerswiththepromiseofdisappearing Eden. wasteland andwildernesshaveneverbeenmorepreciousnorthreatened,thephrase“Empty Lot” Hall demandsadoubletake.It’s notanimagewhicharrestsourattention.It’s thetitle.Inacitywhere Even theposterwhichadvertises Abraham Cruzvillegas’ newinstallationat Tate Modern’s Turbine Abraham Cruzvillegas’ 'EmptyLot'installationin Tate Modern's Turbine Hall.Photo:LaurenHurley/PA Rachel Spence Abraham Cruzvillegas:EmptyLot, Turbine Hall, Tate Modern,London http://www.ft.com/intl/cms/s/0/182600d6-71b0-11e5-9b9e-690fdae72044.html s Galerie Rachel EmptyLot,Turbine Spence. Cruzvillegas: «Abraham Hall,Tate London»,Financial Times.com Modern, , October13,2015. Chantal Crousel ‘Hyundai Commission2015: Abraham Cruzvillegas:EmptyLot’ runsto April 3, tate.org.uk makes himaseerforourtimes. “that somethingcangrowoutofnothing”.Likea green-fingeredBeckett,hisless-is-morephilosophy process, asperformance,politicsandspectacle. Cruzvillegassayshehopesitwillbesomewhere over thecomingmonths. The resultisaworkofartwhich worksonmorelevelsthantheShard:as ting. Someonehasthrowndownanapple.Undoubtedly, guerrillagardenerswillscattertheirownseeds earth, Cruzvillegashaschosennottoplantanything inhissoilbeds. Yet greenshootsarealreadysprou- Like DeMaria,whose1977installation“EarthRoom” coveredthefloorofaManhattanbuildingwith was essentiallyalarge lake—andpioneeringcontemporarylandartistssuchas Walter DeMaria. chinampas —cultivatedagriculturalislandscreatedby Aztecs whenwhatisnowthecityof Mexico American protestmovementswhichcalledforordinarypeopletobegranteddecentlandrights,the nelling theFreudianuncanny—fromscavengedjunk.InfluencesbehindEmptyLotinclude Latin autoconstrucción series,whichassemblesimprobableroomscapes—asifHeathRobinsonwaschan- at internationalbiennales,Cruzvillegasmadehisnameviatheobjettrouvé.Heisbestknownfor his With amajorexhibitionatthe Walker Art Centerin Minneapolisbehindhimandahostofshowings ture isaclarioncalltotheconsciencesofdevelopersacrossworld. industrial farmingwithsuchalarmingdisregardforsocialandenvironmentalconsequences,thesculp- which makesitsopowerful.Butwhenlandisbeinggobbledupforoil,propertydevelopmentand If ourtimeswerelessoutofjoint,EmptyLotwouldlacktheairvulnerableyethopefulmelancholy Cruzvillegas hasbroughtthecity’s greenspaceswithinoneofitsmostpopularculturalones. Museum andGarden,London Wetland Centreandeventhegardensof Tate staff. With quietingenuity, a different localeincludingashoalofLondonschoolsandparks,HamptonCourtPalace,theHorniman http://www.ft.com/intl/cms/s/0/182600d6-71b0-11e5-9b9e-690fdae72044.html Galerie Chantal Crousel María Minara. « El Escarabajo del Arte contemporáneo »,ElPaís «ElEscarabajodelArtecontemporáneo María Minara. Semanal,September 16,2015,pp. 61-63. Galerie Chantal Crousel María Minara. « El Escarabajo del Arte contemporáneo »,ElPaís «ElEscarabajodelArtecontemporáneo María Minara. Semanal,September 16,2015,pp. 61-63. Galerie Chantal Crousel María Minara. « El Escarabajo del Arte contemporáneo »,ElPaís «ElEscarabajodelArtecontemporáneo María Minara. Semanal,September 16,2015,pp. 61-63. Galerie Chantal Crousel María Minara. « El Escarabajo del Arte contemporáneo »,ElPaís «ElEscarabajodelArtecontemporáneo María Minara. Semanal,September 16,2015,pp. 61-63. Galerie Chantal Crousel María Minara. « El Escarabajo del Arte contemporáneo »,ElPaís «ElEscarabajodelArtecontemporáneo María Minara. Semanal,September 16,2015,pp. 61-63. Galerie Chantal Crousel María Minara. « El Escarabajo del Arte contemporáneo »,ElPaís «ElEscarabajodelArtecontemporáneo María Minara. Semanal,September 16,2015,pp. 61-63. Galerie Chantal Crousel commitment from a corporate sponsorinTate’scommitment from acorporate history. partnership betweenunique long-term initial Tate thelongest andHyundaiMotor, until2025 aspartof confirmed site-specific installations artistsmadepossible by contemporary by a The HyundaiCommission isanew seriesof usingwhateverstages materials they couldsource. when generation parents’ they moved buildingtheirhousesin inthe1960s andbegan tothecapitalfrom areas rural his theimprovised autoconstrucciónreferences The term construction methodsandtechniques usedby Mexicans of autoconstrucciónor“self-construction.” work that draws inspirationfrom theideaof created abody of isbestknown works forcreatingsculptural Cruzvillegas from localfoundobjectsandmaterials. years In recent hehas inshowingdeep interest truly ground-breaking art.” international accepted thefirstHyundaiCommissiontomake anew work for Tate Modern’s Turbine Hall.His workreflects Tate’s tal Crousel, Paris) theartistandThomas DaneGallery,(Courtesy of London,Kurimanzutto, Mexico City, Regen Projects, LosAngeles, Galerie Chan- The Autoconstrucción theexhibition Cruzvillegas: Abraham Suites2013,at WalkerInstallation view of ArtCenter, Minneapolis mission Tate HyundaiCom- forInaugural Cruzvillegas NamesAbraham Modern http://uk.blouinartinfo.com/news/story/1073980/tate-modern-names-abraham-cruzvillegas-for-inaugural-hyundai Nicholas Forrest. «Tate HyundaiCommission», forInaugural Cruzvillegas NamesAbraham Modern Chris Dercon, Director, Tate has said:“IamdelightedthatCruzvillegas Abraham Modern Turbine Hallwhich will opentothepublic onOctober13,2015. will Cruzvillegas tual artistAbraham undertake HyundaiCommissionforthe theinaugural London’s Tate andHyundaiMotor have Modern announcedthat renowned Mexican concep- Blouin Art Info, January 22,2015. Galerie Chantal Crousel and peacock feathers. ArtinNew York Modern The piececalledPolaris Museumof owns aCruzvillegas madefrom anumbrella andpheasant

• The HyundaicommissionisinTate Modern’s Turbine Hallfrom 13October2015to20March 2016. enjoyable helter-skelter slides. visitorswould liedown andbaskinthebeautifulfakewhere sunlight,andCarstenHöller’s each day of hundreds spiderandhasbeenfollowedinstalled anenormous by installations such asOlafurEliasson’s The Weather Project, The Turbine Hallcommission,previously by sponsored Unilever, isalways popular. in2000when Itbegan Bourgeois with what they found. tion, which would generation hisparents’ harks buildtheirhousesinthecity, back totheway Mexicans of improvising whoCruzvillegas, lives andworks inMexico City, createshiswork underthetitleautocontrucción,orself-construc- http://www.theguardian.com/artanddesign/2015/jan/22/abraham-cruzvillegas-turbine-hall-tate-modern Mark Brown. acceptsTurbine «Mexican Cruzvillegas artistAbraham Hallcommission»,

Theguardian, January 23,2015. Galerie Chantal Crousel a rubber buoy subsequently andanoldcoat tocreate sculptures hanger by acquired Tate Modern. During aresidency at Cove materials including Parkgathered wool, inScotland2008,Cruzvillegas discardedfencing, reflects Tate’s inshowing deep interest trulyground-breaking art,”hesaid. international Tate hadacceptedthetask.“His work saidhewas Modern, delightedCruzvillegas Chris Dercon, of thedirector sions inwhat istheTate’s sponsorshipdeal. andlongest largest on 13Octoberthisyear. Itwas Turbine announcedayear that ago Hyundaiwould Hallcommis- support11years of On Thursday Tate namedhimastheartistwho will take Hyundaicommission, openingtothepublic ontheinaugural thers. wood orfea- isknown formakingCruzvillegas from sculptures foundmaterial bottles, such asoldfurniture, bitsof Hall. and AiWeiwei artcommissions–filling contemporary themostprestigious Tate Modern’s by taking ononeof Turbine LouiseBourgeois, AnishKapoor istofollowThe inthefootstepsof Mexican Cruzvillegas conceptualartistAbraham Turbine Hall atthe Tate Modern.Photograph:DanChungfortheGuardian mission at Tate Modern Artist known formaking from sculptures foundmaterial will take Hyundaicom- oninaugural acceptsTurbineMexican Cruzvillegas artistAbraham Hallcommission http://www.theguardian.com/artanddesign/2015/jan/22/abraham-cruzvillegas-turbine-hall-tate-modern Mark Brown. acceptsTurbine «Mexican Cruzvillegas artistAbraham Hallcommission», Theguardian, January 23,2015. Galerie Chantal Crousel Colin Perry. Cruzvillegas. «Abraham MuseoJumes, Mexico City»,Frieze, n°170,Avril, 2015,p. 145. Galerie Chantal Crousel dane materials with andacademicpractices such eloquence,» hesaid. maverick choice.» “I know nootherartistwho thevernacular andtheuniversal, canmeldPunkand Modernism, mun- For hisdealer, Thomas Dane Gallery’s partner François Chantala, theartistwas “boththemostobvious and themost alumniinclude BruceNauman,AiWeiwei,illustrious listof AnishKapoor, andOlafurEliasson,tonamebuta few. certainlyCruzvillegas hasbigshoes to fill. The Turbine Hallcommission was launched, like in2000.Its Tate Modern, questions around ecology, economy andsoon.» who hasabrilliantapproach tomaterial, who isasking very questionsabout ourrelationship with current materials: Speaking with artnetNews, project curator Mark Godfreyexplained Tate’s decision:“We believe that he’s anartist wood. board boxes, CDs, andbitsof foundobjects, including such trash asdiscardedcard- with hismakeshift andinstallations sculptures of for himself hasmadeaname Gabriel Orozco, Cruzvillegas Mexico’s best-known studentof conceptualartistsandaformer One of anew sponsor,gurate thenew series, which HyundaiMotors. comescourtesyof After atwo-year hiatus, Tate Modern’s ever-popular Turbine will Hallcommissionisback. Cruzvillegas Abraham inau- theartistandThomas DaneGallery Photo: Courtesyof The Autoconstrucción theexhibition Cruzvillegas: «Abraham Suites2013»at WalkerInstallation view of ArtCenter, Minneapolis “Trash» Takes Cruzvillegas ArtistAbraham onTate Modern’s Turbine Hall http://news.artnet.com/art-world/trash-artist-abraham-cruzvillegas-takes-on-tate-moderns-turbine-hall-230394 Coline Milliard.«“Trash" Takes Cruzvillegas ArtistAbraham onTate Modern’s Turbine Hall», Coline Milliard,Friday, January 23, 2015 Artnet News, January 23,2015.

Galerie Chantal Crousel sometimes decriedasapopuliststunt,CarstenHöller’s slidesalsowooed thecrowds. enthusiastslying onthefloorandspellingout ceiling,words only saw visible high throngsabove of them.Although might have anticipated. Eliasson’s Weather inamirrored lightreflected Project (2003),which discof involved ahalf theTurbine HallcommissionshaveNonetheless, mostof successes-andnotalways beenhuge theartists forthereasons upstairs, notnecessarily expecting anartexperience thenandthere. that thespaceisessentially anoversized corridor, inwhich visitorspassthrough toreach thecollectionsandexhibition electricpower theformer The cathedral-like plant-isanobvious Turbine challenge. Soisthefact Hall-oncetheheartof ted large-scale sculptures and installations, sculptures ted large-scale which artbiennials. untiltheearly noughtieswere mainly of theremit out, MoMA’s Atriumand Paris’s theway only institutionshave Monumenta are program two examples finally of adop - installations, theTurbine Hallcommissions rippledacross theglobal museum world. AsTate curator Godfreypointed theDIAFoundation’sInitially majorsite-specific accordingtoBlazwick, inspired, by some of projects, andtherise of art.» contemporary uninitiated visitorstotheviewing andappreciation of of tors: “Hasartbecomespectacle? and soon…Nonethelessithasconverted Coulditsufferfrom gigantism? generations “There isalsosomeambivalence about thecommissionswithin theartscommunity,» sheadded, alludingtoitsdetrac- impact. tremendous charge-has madea with surprise-coupled thatof thefact itisfree immersionandof News, “The sheerscale, senseof Whitechapel Iwona director Gallery Blazwick, who co-curated theinitialTurbine HallCommissionseries, toldartnet The Turbine changerbothwithin game Hallcommissionhasbeen areal London andacross theartworld at large. http://news.artnet.com/art-world/trash-artist-abraham-cruzvillegas-takes-on-tate-moderns-turbine-hall-230394 Coline Milliard.«“Trash» Takes Cruzvillegas ArtistAbraham onTate Modern’s Turbine Hall», Artnet News, January 23,2015. Courtesy of Tate Photography Courtesy of Carsten Höller, Test Site Galerie Chantal Crousel Cruzvillegas’s installation will openonOctober13,2015. about experience, about material, andthat will really continue with theHyundaicommissions,» heconcluded. “With bothUnilever andHuyndai,we thinking lookat artistswho about space, about thepublic, findnew way of Godfrey explained. artistswe Unilever looktointhenext 10years, mightnotnecessarily overlaps bethekind are butthere of of aswell,» theartiststhat mighthave principlewillbine Hall,thecore stay beenselectedduringthe10years thesame. “Someof artistscommissionedfortheTur- thenew sponsormightcoincidewith aslightshiftinthekindWhile of thearrival of no smallfeat, particularly profit decline consideringHyundaiMotors’staggering recent in years. having itsnameattached commission.This totheprestigious is which £4.4millionfortheprivilege of paidareported true, that issubstantially Unilever,South Korean thanitspredecessor more groupissaidtohave £6million.If pledged has ever worked with,» saidGodfrey. thesponsorship, AlthoughTate the hasn’t the of exact magnitude confirmed Hyundai Motorswill befootingthebillfornext 11years, which upfront “thelongest commitmentTate represents http://news.artnet.com/art-world/trash-artist-abraham-cruzvillegas-takes-on-tate-moderns-turbine-hall-230394 Coline Milliard.«“Trash» Takes Cruzvillegas ArtistAbraham onTate Modern’s Turbine Hall», Artnet News, January 23,2015. Galerie Chantal Crousel Robert Preece. «AConversation with Sculpture, Cruzvillegas», Abraham July/August 2014,pp. 26-31.

GENE PITTMAN, COURTESY WALKER ART CENTER A Conversation with Objects AreObjects Alive Abraham Cruzvillegas Galerie Chantal Crousel Robert Preece. «AConversation with Sculpture, Cruzvillegas», Abraham July/August 2014,pp. 26-31. Castro, Abraham Cruzvillegas, and Antonio Fernández Ros. Fernández Antonio and Cruzvillegas, Abraham Castro, Autoconstrucción , 2010. Installation of performance set and documentation, performance duration: 70 min. A project by Antonio by project A min. 70 duration: performance documentation, and set performance of Installation 2010. , Galerie Chantal Crousel Cent using any technique. There’s no way of interfering in their relationship besides adding besides relationship their in There’s interfering of way technique. no any using things to have a dialogue among themselves, not really making any transformation or our own voyeuristic gaze and interpretation. several works at the Gwangju Biennale in South Korea. Back in 2003, he exhibited at the Venice Venice the at exhibited he 2003, in Back Korea. South in Biennale Gwangju the at works several ally, this ongoing ments. Rooted in the real world situation of Mexico City specifically, of Latin America and gener- to some extent in a presentation a in 28 my father. I did nothing but put them together. I wanted to test my ability to allow to ability my test to wanted I together. them put but nothing did I father. my never die—much less when we belong to a whole. all we ourselves, and things, energy, matter, that I’m sure but animism, in believer a then, they share a diverse circumstance—being together, as a whole. I’m not necessarily dence making things,” a methodology that “exists in many places and sees cultures withCruzvillegas specificthat differences.”noted be should It assemblage. aesthetically constructed, found-object compositions to emotionally charged, socio economic/political state- from my parents’ house. I wanted things to become “themselves” after my appropriation.Abraham Cruzvillegas: Preece:Robert Cruzvillegas’s Abraham PREECE ROBERT BY AC: RP: South Korea’s 2012 Yanghyun Prize, which awards 100 million won (approximately $88,000), and exhibited jointly Sculpture Previous Cruzvillegas has exhibited around the world. A 2013 mid-career retrospective organized by the Walker Art Walker the by organized retrospective mid-career 2013 A world. the around exhibited has Cruzvillegas Could you explain what you mean whenyou say that the “objects are alive”? A work from the early 1990s, 1990s, early the from work A Robert Preece. «AConversation with Sculpture, Cruzvillegas», Abraham July/August 2014,pp. 26-31. er in Minneapolis continued on to the Haus der Kunst in Munich earlier this year and will be shown be will and year this earlier Munich in Kunst der Haus the to on continued Minneapolis in er of life in objects. Iused a stair railing from my parents’ house and a painting by at the Jumex Foundation in Mexico City and the Museo Amparo in Puebla in 2014–15. In 2012, he won to my intervention, the objects had a life of their own, separately; and since What led you to work so intensively with found objects? series builds on the historicalart vocabulary of Duchampian readymades, Arte Povera, and uae yGbilOoc.Cruzvillegas lives and works in Mexico City. curated by Gabriel Orozco. I started working with objects in 1987, experimenting with things Autoconstrucción Objeto útil pero bonito, pero útil Objeto works ricochet back and forth between categories, from intriguing, from categories, between forth and back ricochet works is a good example of the the of example good a is autoconstrucción photographs, text, and found furniture, dimensions variable. room) (resource Autoconstrucción evi- (“self-construction”) as “a way of way “a as (“self-construction”) tecture at all—or at least it can’t be critiqued tures and courtyards along creeks. Are there tain walkways, and molded forms for struc- by narrow stairwells between houses, cer- Sou and in concrete workers’ houses in Busan, an nacular. That term applies to architectural AC: years that stick out in your memory? any innovations that you’ve seen over the ments that I’ve seen innovations in “self-constructed” environ- RP: alysis, and I don’t think that th Korea. Inparticular, Iwas intrigued I’ve grown to appreciate vernacular appreciate to grown I’ve autoconstrucción , 2010. Maps, drawings, drawings, Maps, 2010. , autoconstrucción in Caracas and Manila

Biennale, is not archi- is ver- 33.6

GENE PITTMAN, COURTESY WALKER ART CENTER Galerie Chantal Crousel

BOTTOM: ESTUDIO MICHEL ZABÉ, 2010 / ALL: COURTESY THE ARTIST AND KURIMANZUTTO, MEXICO CITY Sculpture Robert Preece. «AConversation with Sculpture, Cruzvillegas», Abraham July/August 2014,pp. 26-31. July/August 2014 2014 July/August intervene. Struggle is everywhere, because w exclusion, humans except when without together fit things which in tem also very important for me—the context in which certain needs become a become needs certain which in context me—the for important very also ción (resource room) and it became a platform for making projects. The work thatIt’s I call not a technique, it is not a subject. approachingFor me, it comesthings from in amy very own specific experience, economic, political,strucción and social environment. or understood within the categories or premises of architecture. For me, Above: Above left: x 79 x 38 cm. Left: RP: that inhabit them, as a whole, including myself. determ AC: sociopolitical/socioeconomic context of self-constructed environments? construcción exists in the shapes, materials, objects, structures, and i mation related to my experience. I didn’t choose it from any agenda or catalogue. places in architecture—bu me, the concept refers not to building shapes—I’m not especially interested acrylic, and nunchucks, 130.5 x 99.5 x 20 cm. In my case, that context is called “solidarity.” For me, approaching “solidarity.” called approaching is me, For context that case, my In On the other hand, I’m convinced that that I’m convinced hand, other the On I don’t need to reconcile anything, mainly because we exist in an ecosys- How do you reconcile your approach and the resulting objects with the with objects resulting the and approach your reconcile you do How Autoconstrucción: Fragment: Lattice Bureau and cultures—with specific differences and with diverse names. For ination constructing, for transforming, adapting, or destroying. is a way of making things. It’s a form of understanding reality and of La Familia is not to talk about my biography or about myself: memory myself: about or biography my about talk to not is Measure for measure , 2009. Coconuts, artificial hair, steel wire, and glue, installation view. t to the needs that produced those shapes. The context is includes documents, books, references, and diverse infor - , 2010. Wood, skateboard, brick, cotton, enameled , 2007. Bricks, iron, and wood, approx. 98 autoconstrucción e are ubiquitous. Then our eyes n the other animals exists in many in exists Autocons autocon- auto- truc- 29 Galerie Chantal Crousel ers, chain, and meat, 100 x 80 x 93 in. Below: 30 Left: stones, acrylic sheets, ceramic dishes, cup and ashtray, rope, gloves, pillow, and mixed media, dimensions variable. From the Gwangju Biennale. Sculpture Autoconstrucción Room Robert Preece. «AConversation with Sculpture, Cruzvillegas», Abraham July/August 2014,pp. 26-31. , 2009. Installation of 15 unique sculptures, dimensions variable. Right: An Affirmative Craft , 2012. Folding bicycle, tools, extension cords, wooden ladder, wooden crate, coins, stainless steel, Chicas Patas Boogie (sweaty & needy) , 2012. Rebar, fabric, feath- 33.6

TOP LEFT: GENE PITTMAN, COURTESY WALKER ART CENTER / TOP RIGHT: COURTESY THE ARTIST AND REGEN PROJECTS, LOS ANGELES / BOTTOM: COURTESY THE ARTIST Galerie Chantal Crousel

TOP: COURTESY THE ARTIST / BOTTOM: COURTESY THE ARTIST AND KURIMANZUTTO, MEXICO CITY setting up messages forth to anyone. Instead, I like the idea of to exist, but Idon’t address this content or put these some of the many factors that cause ción esting to think that the hermeneutics of own education, context, needs, or ideas; it’s more inter-adopt an ideological position that doesn’t fit with your brin and I also learned a lot from life in the streets, from streets, the in life from lot a learned also I and in different public dialogues organized at the house, AC: to add to person every to up it’s that, Beyond politics. that’s in asart propaganda. producesArt knowledge, and believ don’t I But with. agree don’t we cumstances port the causes we identify with and fight against cir- AC: Bie RP: this, humor is crucial. Everything fits together. tences to be completed. were open to any audience and were recorded for for recorded were and audience any to open were education, the economy,religion, life, history, andlocal culture.about learn Thoseagents—to meetings artists, professors, curators, historians, and cultural work- and studio a as weeks some for house doned AC: ity? D supporting struggles to reduce corruption and inequal- RP: an open scaffolding to move through freely. audience, rather than anything from me. It should be essary to take an introductory seminar or to immediatelysolidarity. To make thing is useful, and people become resourceful and in the specifics of everyday life, which is veryefferves- ations. On the other hand, pretending to be away be to pretending hand, other the On ations. transfer our conflicts to other beings, things, and situ- these works? What did spending tim RP: left. I after Biennale, the during house the in remained sculptures The soon. published be will that book a While house. the from materials only using shop, ful. In the context of autoconstruc because they are nice or ugly, but from mybecause way of working: putting things together not they are use- but not because of my intervention. This comes in part from struggle is useless and a little bit naïve. constructing my sculptures, I organized meetings organized I sculptures, my constructing Sculpture with people from the city—students, doctors, activis Robert Preece. «AConversation with Sculpture, Cruzvillegas», Abraham July/August 2014,pp. 26-31. Corruption and unfair distribution of wealth are wealth of distribution unfair and Corruption Beauty is also everywhere, and in my work as well, nnale? What did you learn from the process of developing I learned a lot from the people with whom I spoke I can’t explain, but I can describe. I used an aban- Like any other person, Ibelieve that we must sup- g to your work? How political do you see your works in terms of terms in works your see you do political How Could you explain your works in the Gwangju the in works your explain you Could rest on these latent elements from any possi o you see the works as activist? July/August 2014 2014 July/August meaning to artworks. Artists just proposemeaning to Artists sen- artworks. optimistic exchanges in our society, and for autoconstrucción ción e in South Korea yours, it’s not nec - autoconstrucción , almost every- autoconstruc- ble ts, e Robert PreeceRobert is a Contributing Editor for Sculpture AC: pu branches, and beer bottles and caps, dimensions variable. From the Gwangju Biennale. Above:Below: RP: that Itook with me after my time there. cent and politically engaged. My mind is still organizing the many experiences bottles, and masking tape, dimensions variable. boxes, paint, paper, aluminum paper, stainless steel, copper, iron, plastic, wood, denim, glass A new self-portrait as a mismeasured punctuated lack of equilibrium (with denim) blic—to walk away with after seeing your works? What are the things that you One, a troubled mind. Two, a smile. Communal and Democraticist , 2012. Wooden window panels, stainless steel, coins, tree ’d like viewers—art specialists and the general . , 2011. Plastic 31 Galerie http://artdaily.com/news/67994/Abraham-Cruzvillegas--The-Autoconstrucci-n-Suites-on-view-at-Haus-der-Kunst#.U1JTvseCD-Z Chantal Crousel Ajusco, avolcaniclandscape justsouthofMexicoCity. pelling bodyofworkthat integrateshisinterestinformandmatterwithin thephysicallandscapeof Over thepasttenyears, Abraham Cruzvillegas (bornin1968MexicoCity)hasdevelopedacom- and soundsaswellmythree-dimensionalwork." – Abraham Cruzvillegas matter shouldbeorganized bysympathy, aconceptthatIapplytomycollectionsof objects,images, knowledge andunderstandingofhowhumanactivity producesforms.BuckminsterFullersaidthat "Rather thansimplypresentingmodelsofpoorpeople's architecture,mymainpurposeistogenerate ture initsurbanandsocialcontext. by Mexican-bornartist Abraham Cruzvillegas presentsanintriguingconceptofthinkingaboutsculp- between stabilityandinstability, combiningpiecesfromearlierworks. The "AutoconstrucciónSuites" DEN FREUNDENHAUSDERKUNST. ManfredPernice, Tutti IV)navigatesintheambiguous zone by ManfredPernice,installedinautumn2013themiddlehall(DERÖFFENTLICHKEIT - VON the enveloping,tearing,folding,bendingandcompressingofmaterialsinvolved. The installation presentation ofsculpturalobjectswhichwerecharacterizedbytheactsexecutedduringproduction: positions ofsculptureincontemporaryart. This explorationincluded"Sculptural Acts" (2011), a MUNICH.- With thisexhibition,HausderKunststressesitscontinuingcommitmenttopronounced «Abraham Cruzvillegas: The Autoconstruccion Cruzvillegas: «Abraham Suitesonview at HausderKunst», Artdaily, March 2014. Galerie http://artdaily.com/news/67994/Abraham-Cruzvillegas--The-Autoconstrucci-n-Suites-on-view-at-Haus-der-Kunst#.U1JTvseCD-Z Chantal Crousel traditional villagefestivalsoriginatingintheIsthmus of Tehuantepec inOaxaca,Mexico,where women production intheLoire Valley wherethe Atelier Calderislocated;whilethecolorfulfabricflagsrecall that isriggedtoatire,enablingno-handsfishing. Thewineracksthatsupporttherodsreferto du Isthmus"(2005),forexample,isinspiredbyanimproviseddevicemadefishermeninIstanbul within different environmentalandecologicalcontextsinEurope, Asia, andtheUnitedStates."Bougie Between 2005and2012,theartistembarkedonaseriesofresidenciesthatenabledhimtowork cracks. tacles, debris,constraints,leapsandjumps,tremorsunevenness,fallingmaterials,ricochets shows thedynamicsofbuildingprocess,closelyobservingespeciallyunstableelementslikeobs- contradictory, andunstableasitprogresses.Insteadofemphasizingconstructiondetails,Cruzvillegas the organic needtocreateahumanhabitatbyanymeansnecessary, aspacethatbecomesspontaneous, ción Suites"beginswithalookatthehouseaswhole;itsdetailsandimprovisedtechniquesborn of The exhibitionconcentratesonworksthatfollowtheprinciplesofself-construction. The "Autoconstuc- won basicrights. muchas" (We're notmen,but wearemany),thewomenofMexicoCity'sworking-classneighborhoods when theyorganized independentpublicschools.Underthesloganof"Nosomosmachospero such aswhentheimmigrantsfilledstreetwithdirtylaundrytodemandaccessrunningwater cation alongsideconstructingurbanspace.Fuentesremembereddifferent momentsinthesestruggles, (2009) –theartist'sparentsunderscoresimportanceofsecuringbasicrightslikewaterandedu- " The video"Autoconstrucción: A DialoguebetweenÁngelesFuentesandRogelioCruzvillegas" house wherehisfamilylivedandtookpartintheprocess. lived inthe Ajusco settlementand"forthefirst20yearsofhislifehewatchedconstruction trucción (self-building)isgenerallyaprocessofhumanwarmthandsolidarity. Abraham Cruzvillegas The extendedcommunityofrelativesandneighborswasinvolvedinthebuildingprocess. Autocons- building anextraroom,modifyingaroof,improving,changing,oreliminatingonespaceanother. The self-constructedbuildingsin Ajusco reflectedconcreteneedsinfamilysituations,like the immediatesurroundings. and techniquespeopleusedwerealmostentirelyimprovisedbasedonwhateverwasavailablein They thereforecreatedtheirowndwellingswithnofundingandarchitecturalplan. The materials countryside foundthemselvesinaprecariouseconomicsituationoncetheyarrivedMexicoCity. trial development,whichwasperceivedasarecipeforprogress. The numerousimmigrantsfromthe the migrationfromcountrytocitycausedbystate'sneglectofagriculturalissuesinfavorindus- The constructionofasettlementtherebeganinthe1960s. The buildingwasadirectconsequenceof lis, MN,U.S.A., whereitwasfirston viewfromMarch23to September22,2013. Abraham Cruzvillegas: The Autoconstrucción Suitesis organized bythe Walker Art CenterMinneapo- immediacy, andurgency –asaresultofaninteractionwith objects. tinctive featureofCruzvillegas's workisthatitalwayspossessesaconsciousness ofphysicalpresence, Elements ofcomposition arethedisparate,cumulative,andaffective searchforexpressivesigns. A dis- tion ofdisparate"experiences,sensations,knowledge, andlanguage." Cruzvillegas proposesthatatrueportraitisnotthe sumofanintegratedwhole,butisratheracollec- padas" (MerrySelf-Portrait,withMyHandsBusy), inferringaspecificplaceandtime.Inthisway works) andcarrycomplex,oftenhumoroustitles, like"Autorretratojacarandosoconlasmanosocu- The componentsarecomprisedofhispersonalbelongings (shoesandtotebagsappearofteninthese In 2010Cruzvillegasbeganproducingaseriesof standaloneanthropomorphicself-portraitsculptures. «Abraham Cruzvillegas: The Autoconstruccion Cruzvillegas: «Abraham Suitesonview at HausderKunst», Artdaily, March 2014. , or , Galerie Chantal Crousel Gareth Harris.Gareth «Mexico’s Duchamp», 21st-century TheArt Newspaper, n°253,January2014,P. 30. Frédéric Bonnet. “Abraham Cruzvillegas”, Journal des Arts, Issue 401, November 2013, page 121. Galerie Chantal Crousel Galerie Chantal Crousel Gabriela Jauregui. “AbrahamGabriela Jauregui. MuseoExperimentalElEco, Mexico City” Cruzvillegas: September 2013,p. 170. Frieze, Galerie Chantal Crousel of the Walker Art Center. Center. Art the of Walker

Installation view of by Abraham Cruzvillegas Cruzvillegas Abraham — their mate for respect manner decisive and swift in occurs a miraculously works his of theYet making paths. nonlinear inefficient, takes while it depth accumulates process His thinking studio. the in thatbeing of from different engagement a temporal which requires world, this in his being from ground, fertile growout of works The to emotion. itwhen comes efficiency, even of mode a specific exercises Cruzvillegas time, andwith efficiency his modes for praised who often was Duchamp, shape. Like give them (spirit), a vitalnature and (togetherness), commitment in time, unfolding processes how without noticing considered on be paper can’t works en and a daring provides work body of Cruzvillegas’s isself pressure This with others. something share and to oneself to be good to desire one’s of falling short failure, of of a fear by terrified even and weak, anxious, feeling to prey fall one may artist, anAs life. in is possible what of perception and alters their experiences him, around people influences he to be contagious— they seem that qualities special Abraham’s are powerful So we can. whenever other’s shows citi home our respective introduced interactions. We’ve our different through to grow continues rather but waned not has his uniqueness of sense my meeting, ourfirst years after Five confirmed. were about him rumors the 2008, in in Los Angeles him met I finally myWhen curiosity. piqued This person. special a was he that passing in Kim mention Clara heard curator I’d once than Cruzvillegas, more Abraham Imet Before Haegue Yang Yang Haegue Haegue Yang Haegue Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. Page 1 Page

The Autoconstrucción Suites Autoconstrucción The

of 13 of

rials’ origin. rials’

, 2013, , dimensions variable, Summer couraging optimism. The physicality of his sculptures and and his sculptures of physicality The optimism. couraging their graceful execution is full of wit and demonstrates demonstrates and wit of is full execution graceful —their

Walker Art Center, Minneapolis. Photo by Gene Pittman. Courtesy Courtesy Pittman. Gene by Photo Minneapolis. Center, Art Walker 2013

es to each other and see each see and other each to es -imposed. -imposed. Bomb Magazine Magazine Bomb Visual Arts Visual Galerie Chantal Crousel Installation view of A honor. their protecting about was it Iguess hair. their their than heads cut off rather would who people were There orancestors. your parents from inherited something as was hair regarded Confucianism, under In Korea, your hair. you cut to anything to meant itwhether about thinking myself I found a sudden all of region, gulf the in “island” this strange Dubai, in but tonight H Minneapolis. Minneapolis. Autoconstrucci the for rule is the Change inhabitants. their of needs specific to the according simultaneously, destroyed my works from series some installing was youwrote, I first When provoke. we must it’s something happens, that us of all for veryimportant is Change hair. cut my I so a change, wanted I and expensive was shampoo 2010, in Berlin I to moved good. When was years. change The nearly 20 for week every other head my shaved I had that, Prior to Europe. in cold felt head my 2005, in Paris in to live went I and Alejandra, wife,

like th like is at the exhibition Walker The relationships. and opinions, arrangements, are constantly switching that identities in street— the me don’t recognize abit little little redneck, a Navajo, a little be can haircuts yes— Ah, us. of people’sperception affects hair that happens itAnd so idea. that I love unfinished. is permanently construction BRAHAM AEGUE at: a sort of confrontation of groups of works that I get to witness. witness. to Iget that works of groups of confrontation of a sort at: Y ANG C Page 2 Page Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013.

RUZVILLEGAS Autoconstrucción I remember your beautiful lo beautiful your I remember houses, and transformation of identity is behind my approach (or misuse) of the concept: self- the concept: of misuse) (or approach my behind is identity of and transformation houses, ón Autoconstrucción of 13 of When I cut my hair, there was no symbolic meaning. I had let it grow because when my my when because it grow let had I meaning. no symbolic was there hair, cut my I When

, 2009, Thomas Dane Gallery, London. Courtesy of the artist and kurimanzutto, Mexico City. Mexico and kurimanzutto, artist of the Courtesy London. Gallery, Dane Thomas 2009, , means transformation to me. I apply the notion to houses being both built and and built both being houses to notion I apply the me. to transformation means also when my work becomes something like a cumulative dialogue of inner inner of dialogue a cumulative something like becomes work when my also ng hair when we met for the first time in LA in 2009. Don’t ask me why, me ask Don’t in 2009. in LA time the first for we met when hairng

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2013

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and the inventiveness of a new haircut. My haircut. a new of inventiveness theand

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Galerie Chantal Crousel MexicoCity. Airport) (Alternate Alterno Aeropuerto not. Or friendships. develop to in order contradictions own our accept to wehave all sometimes us; for of same go hate, love, also but instability, or conceptual or physical conflict, a be there might them Between their of relationships. a voyeur become together. I come how they witnessing andlike I internal system, an have objects These City. Mexico Paris, or York, New Marrakech, in Taiwan, made be can They handmade. or industrially made, matter, organic are that other each of on top things it’s having clash an economic is like This work. in one together contradictory contexts from objects diverse put I often Very World. Third so-called the in lived we family because Addams the than eccentric more was our family that used to say My mother glasses. Lennon series the TV of from Cousin Itt me remind They todreadlocks). similar extensions, bizarre (like guamas the of heads the it to attach and hair their cut arecalled shamans Baja California . In AC World? the Third of experience this we share since other, to each we similar Are country? a nonindustrialized from World, HY comercio. comercio. de galería La with your activities of well as as inyour Mexico, peers butwith also Durham, with Jimmie friendship your of I why? know And for? be it would what us, among the friendships of the importance tostress effort an we made ever If doors? on other’s each knock to we hesitant Are do. curators than often less other’s shows visit each much. We so other each with out hang wedon’t like artists it seems However, backgrounds. geopolitical HY

I wonder whether I am too Korean to be your Mexican sister. What do you think about coming from the Third from about coming you do think What sister. your Mexican be to too Korean I am whether I wonder We are very privileged to work internationally and share friendships with people with various cultural and and cultural various with people with friendships share and internationally work to are veryprivileged We

I like it. What does that mean? I’m sure there are more worlds in our world: a worldsin our more there are sure I’m mean? does that it. I like What

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, 2002, machetes, knives, and wood, 67×39 3/8×47 1/4 inches. Courtesy of the artist and kurimanzutto, kurimanzutto, and artist the of Courtesy inches. 1/4 3/8×47 and 67×39 wood, knives, 2002, machetes, , The Addams Family Addams The guamas ; they sit in narrow caves, covered with other people’s hair. People People hair. people’s other with covered caves, narrow sit in ; they

Summer ; a funny character similar to a large walking wig with John John withwig walking large toa similar character ; a funny

2013

ssip, power, and sometimes friendship. It’s the friendship. It’s sometimes and power, ssip,

fourth, fifth, sixth, and seventh . . . seventh sixth,and fifth, fourth, Bomb Magazine Magazine Bomb Visual Arts Visual — Galerie Chantal Crousel child, President Luis Echeverría liked to use the concept Third World, accepting the exoticism associated with with associated exoticism the accepting Third World, concept to the use liked Echeverría Luis President child, a was when I but underdeveloped, (now called countries other inas many Mexico, In crucial. been has history AC history after World War II and its impact on your upbringing, if it had one. it one. if had your on upbringing, impact IIand its after historyWar World of yourview own about curious Iam democracy. and independence for and efforts struggles intense concerning HY

TLQNSDEP say would I global. more and bigger our group made It has friendship. of production the for also art,but of production the for sphere social and context commercial is a It our community. of development the from resulted kurimanzutto, gallery, Our open. and transparent been we’ve always since interests, our and community small our about knows everybody Mexico In together. something to plot or intention purpose any specific without having together, time to spend orjust help, for advice, other for each we approach bonds can is that long-term these about like really I accomplices. What and with friends many me provided has teaching Also, others. and Manzutto, Mónica Kuri, José with relationships extended them, And, through Lakra. Dr. a.k.a López, and Jerónimo Kuri, Orozco, Gabriel AC Martina Núñez reading texts by Alexandro Rodríguez that interweave probable tragic events and Mexican recent history in history Wendy recent Mexican and events tragic probable interweave that Rodríguez Alexandro by texts reading Núñez Martina raising we do friend-raising. wedo friend-raising. raising fund- of instead that said Arcenaux otherEdgar artists. some also and roaches, plants, merchants, housewives, hobos, children, school us: around the environment from force collaborative and energy the is channel we do what but mostly activities, other some and demonstrations, screenings, film performances, installations, workshops, C and Martí José I and to Nuria addition in Núñez, Martín and Acebrón, comercio is a nonprofit seven-headed entity seven-headed is a nonprofit comercio de galería La together. working of pleasure the for essentially events, street organize to friends and old students with some reconnect was to idea my comercio, de galería La I started and Montiel Nuria when 2010, In February of knowledge. production to the leads also

In my understanding of why I make things the way I do, not only as an artist, but also as a person and a citizen, a citizen, and person a as also but artist, anas onlynot I do, way things the I make why of understanding In my

and maybe this is only my perception is only my this maybe —and Once we compared notes on our homelands’ recent histories. Astonishingly, there were lots of parallels parallels of lots were there Astonishingly, histories. recent homelands’ on our notes we compared Once I’ve cultivated strong friendships with some other artists who are like family now: Damián Ortega, Gabriel Gabriel Ortega, Damián family now: like who are artists other with some friendships strong I’ve cultivated , 2011, at La galería de comercio, Mexico City. Mexico decomercio, galería La at 2011, , Page 4 Page Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013.

omercio streets, in the Escandón neighborhood. We’ve organized drawing, stamp, and sticker sticker and stamp, drawing, organized neighborhood. We’ve Escandón the in streets, omercio of 13 of

that sharing experience, information, dialogue, time, energy, a energy, time, dialogue, information, experience, sharing —that — Alejandra España, Jimena Mendoza, José Luis Cortés, María Cerdá María Cortés, Luis José Mendoza, Jimena España, Alejandra

Summer that presents free monthly events at the intersection of of intersection at the events monthly free presents —that

2013

Bomb Magazine Magazine Bomb Visual Arts Visual

León, nd love Galerie Chantal Crousel like to become a political actor, but my art is not a political pamphlet. pamphlet. a political is not art my but a politicalactor, to become like I’d because public discussions and meetings, demonstrations, Iattend Ican, If universe. and world, city, country, in the problems of allsolve to trying than scale, rather on a small problems by discussing more Ican do think I or topropaganda. causes, good for actions cheap to lead not that just does activism of any kind sustain hard to and seductive. An extreme caricature of this was his marriage to a soap-opera actress. I personally find it very it Ifind personally actress. a soap-opera to was marriage his this of caricature extreme An and seductive. appealing Nieto, Peña Enrique the PRI candidate, to make everything manipulated media controlled while officially something like a proto like something witnessed we andeven enthusiasm, a lot of was There anyalternative. of in favor (PRI), party old the of candidate AC pessimism? such over advice getting for some me give and this feeling analyze you me help activism. Would political or wantmy doneed not people own my feel like almost I politics? with frustration deep such over get to do artists canwe as and justice. withWhat progress associated someone of speech, instead of no freedom and society, totalitarian violent a and degradation with political associated HY us! behind it’s that sad to feel don’t have that ruled Mexico for the last 12 years) the PRI has returned. So for both of us that past is still so present is still so past that us of both for So returned. years) has PRI the 12 last the for Mexico that ruled dictatorship, but a one-party system under the PRI under the system a one-party but dictatorship, a have not wedid my In country dictator. military former the daughter of Park, Madam of presidency the current with has returned past The dictatorship. recently, a more and, interventions colonial you many had your In country safety. public of lack the and drug trafficking Mexico: about topics conversation to the possible items new added we’ve recently, More the about country. talk to a reason abroad people gave that art andin culture exceptions exemplary lasting over 70 years. After some struggles for democracy, thrown down the toilet by the PAN (the right-wing party (the right-wing PAN by the toilet the down thrown democracy, for struggles some years. After 70 lasting over Western civilization meant fl civilization meant Western of progress consumption.The of its promise only proper, modernity encountered never we development), belated never-ending economic, political, and social crisis. Ingenuity became the national currency, with occasional occasional with currency, national the became Ingenuity crisis. social political, and economic, never-ending a in survival of a as means more but languages, our own we producing kept course Of industry. and knowledge of consumers became wesimply completely; almost languages and technological scientific our own producing

I felt very frustrated veryI felt frustrated What surprised me in the recent presidential election was that a lot of people voted mainly against the the against voted mainly people a lot of was that election inpresidential the recent me surprised What Page 5 Page Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013.

of 13 of –youth movement (called “Yo Soy 132”) fighting for the right to have access to information, to information, access to have right the for fighting Soy132”) (called “Yo movement –youth when more than half of the population of South Korea preferred to “vote” for someone someone tofor “vote” preferred Korea South of population the of half than more when

attening every culture into the “American way of life.” In Mexico we missed the stage of of the stage we missed Mexico In way life.” of “American into the every culture attening

Summer ridiculously named the Institutional Revolutionary Party Revolutionary the Institutional named —ridiculously

2013

Bomb Magazine Magazine Bomb Visual Arts Visual — we we — my my Galerie Chantal Crousel willing to be happy, even in the worst circumstances. circumstances. worst the in even happy, be willing to an optimist becoming and working, while partying and socializing movements, student supporting its corruption, and government the against chanting slogans environment: in that up I grew lives. dignified to live right the and education demand would water. They running and electricity as such basic services demand and land the of ownership together to claim wall, ormarch a new build to together work would People community. politicized very a become and social fabric strong to weavea them fueled This needs. lots of but orengineering, architecture of knowledge no and money no had They over time. slowly houses their building and started volcanic rock of plots over took there people The inhabited. be could it that thought then nobody Back City. Mexico part of AC HY phone. cell Korean you a on with chatting indigenous, intergalactic an as of myself to think like I too hard. himself against turned He an artist. not as only his process, like instance. I for fence, cactus a beautiful with lined Ángel, San in Kahlo Frida and Rivera Diego of studios the prove: constructions Bauhausian his as Mexico, in architecture modernist of representative important was most the younger, he was he rougher. When and wilder only (UNAM), University the National of library at the the arelike ones motifs iconographic syncretic whose murals with mosaic it decorated AC them? experienced also yourself, to post rational modernism from ranging transformations, amazing quite he that underwent to it seemed me works, early O’Gorman’s through that’s not necessarily supposed to be seen as art. In fact, I feel like I am naturally more primitive; I more naturally I am like I feel fact, art.In as be seen to supposed necessarily not that’s work Ilike making sometimes but going direction, that in I’m don’tfeel I on earth. erection it man’s as condemning Anahuacalli, which was built by O’Gorman for Diego Rivera’s collection of pre of collection Rivera’s Diego for by O’Gorman built was which Anahuacalli, Installation view of María Cerdá Acebrón, Acebrón, Cerdá María of view Installation HY

comercio,Mexico City.

Yes, I grew up in the neighborhood of Ajusco, which evolved gradually in a nonplanned area in the southern in southern the area a nonplanned in gradually which evolved Ajusco, of neighborhood thein up I grew Yes, The neighborhood you grew up in is close to O’Gorman’s Museo Diego Rivera Anahuacalli, right? Anahuacalli, Rivera Diego Museo to O’Gorman’s is close in you up grew neighborhood The I got to learn about Juan O’Gorman in Mexico City when you brought me to the Museo Diego Museo to the me you brought when City in Mexico O’Gorman Juan about learn I got to You might know the story of the last house O’Gorman lived in. It was more like a cave than a building, and he and a building, like than a cave more was It in. lived O’Gorman last house the of story the know might You Page 6 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013.

of 13 of not only metaphorically —not primitivism. I’d like to hear your thoughts about those artistic metamorphoses. Have you, Have metamorphoses. artistic those about your thoughts to hear I’dlike primitivism.

Tapete , 2011, a participative installation by the community residing and working near La galería de de galería La near andworking residing community the by installation aparticipative 2011, , by erasing or destroying his knowledge of architectural language, language, architectural of his knowledge or destroying erasing —by Summer

2013

-Hispanic art. After you guided me me you guided After art. -Hispanic Rivera Rivera someone —someone Bomb Magazine Magazine Bomb

don’t have to try to try have don’t

Visual Arts Visual Galerie Chantal Crousel original language original i reasons, economic for US the to migrated who have Mexico from people indigenous some For matter. really it English, doesn’t speak doesn’t us about read to wants who someone if but orsad, happy being or crying, laughing or disagreeing, agreeing about want we whatever say we can and, now, doing we’reas time, inall the English speak both You I and story). beautiful and its perfection (with language written Korean the in Hangul, is expressed it how considering not even the Spanish, from different the streets of Kassel with the sticks I would randomly select two colors/ideas and then improvise with materials with materials improvise then and colors/ideas two select Iwould randomly sticks the with Kassel of the streets in Playing with colors. sticks those pick-up of a bundle painted I and concept, toeach a color I assigned Then date! and blind warm, amorphous, sensual, indecent, generous, contradictory, happy, unstable, inefficient, laughing, delirious, following: the including a list34 concepts of to make notebooks my from images and notes I 1987. recovered in an artist working as I started since my from practice interests constant and intentions, ideas, of out rules a set of fro escape to want younger. Ididn’t was I when Idid as an audience, or without money something make to able still Iwas if test to wanted I exhibition. main the to environment a parallel in a project made I Kassel, in project my For violence. without or with this on togethereveryday work humans and nature existence: AC art”— as seen “I yousaid above: what it fit that radical was so year. piece Your last (13) dOCUMENTA in you piece the about to ask I have Here language. architectural of knowledge his destroying by himself turning against him you about said what of paraphrase a be which might progress, ideaof modern against almost the seems He interesting. also is transformation that of “direction” The of materials. use in his HY it? isn’t Interesting, Mexico. in language version in Spanish; I prefer to keep it as I know it. Maybe you know it in Korean youit in know Maybe it. Iknow as it tokeep prefer I Spanish; in version my from different perfectly something will mean it quote original the Maybe Ifind if learned German. I never Berlin, in I spent time the during and, Spanish is tongue my mother unfortunately but German, in originally said Marx Karl think I which assault), bythe sky take (to asalto” por el cielo the sentence “tomar I remember manyreasons, For La Polar La

Back to the transformation of O’Gorman, it was reflected not only in his approach to formal language, but also but language, to formal approach in his only not reflected was it O’Gorman, of to the transformation Back Well, O’Gorman went really far: he killed himself. Me, I’m just in search of transformation as evidence of of evidence as transformation in of search just Me, I’m himself. killed went he really far: O’Gorman Well, , 2003, umbrella and peacock and pheasant feathers, 43 5/16×78 1/8 inches. Courtesy of the artist and kurimanzutto, Mexico City. Mexico and kurimanzutto, artist the of Courtesy inches. 5/16×781/8 43 feathers, pheasant and peacock and umbrella 2003, , affirmative, sweaty, definitely unfinished, fragmentary, communal, empiric, coherent with the landscape, landscape, the with coherent empiric, communal, fragmentary, unfinished, definitely sweaty, affirmative, Page 7 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. it was almost invisible. invisible. almost was it —Mixtec, Zapotec, P’urhépecha, or Hñhäñhu, for example— for or Hñhäñhu, P’urhépecha, Zapotec, —Mixtec, of 13 of

Summer t’s a tricky situation. They speak fluent English and their their and fluent English speak They a situation. tricky t’s

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like making work that’s not supposed to be to that’s not supposed work making like

is not Spanish, which is the official official is the which Spanish, is not —I’m sure it comes acro it sure comes —I’m Bomb Magazine Magazine Bomb m myself. I made I made myself. m Visual Arts Visual ss really

Galerie Chantal Crousel

own thing. Now they are independent, and I like that. that. I like and independent, are they Now own thing. title: same the share them years. All of in recent on working I’ve been projects different gathers It together. exhibitions fragility AC Icorrect? Am ashow. survey like it seem make scale and complexity HY register of them register of any have to not decided end thein but activities, my of some documented I the surroundings. from gathered Speaking of big exhibitions, I was wondering about the show at the Walker right now. The exhib The right now. the at the show Walker wondering about was I exhibitions, big of Speaking As I said before about my sculptures, I pile objects to create physical and conceptual instability, contradiction, contradiction, instability, conceptual and physical to create objects I pile my sculptures, about before Isaid As Autoconstrucción — everything is about to collapse. So the show at the Walker, organized by Clara Kim, is like piling is like Kim, Claraby organized Walker, at the theSo show to about collapse. is everything Page 8 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. —it was too “efficient.” I’m still working on a book from that project, but I have nothing to show! to nothing have but I that project, from book on a stillworking I’m “efficient.” —it too was of 13 of . It was nice to see all of these installations in dialogue with each other, each saying their their saying each other, each with in dialogue installations these all of see nice to was It .

Summer

2013

Bomb Magazine Magazine Bomb ition’s ition’s Visual Arts Visual

Galerie Chantal Crousel Berlin on a DAAD on a Berlin inwas I when made I one Another Arts. the for College California atthe professor visiting a was when I Francisco San in with students Imade each. One for story particular a I developed bikes. four of group a I’ve made Bynow collaboration. spontaneous joyful, of result the and a as city Glasgow of portrait Mexico in neighborhood my about stories lyrics tell These for lyrics. my music to create bands local asking I so started a musician, is every Glaswegian I foundthat songs. for lyrics writing about thinking I started Then streets. in the to play music speakers with of lots liked, always Jamaica I those from like system, a sound portable make to bikes discarded of true:pieces I used come dream my I made John’s help therapy. of a as form With relatedtasks them giving by disabilities with people also help The aresalvaged. bikes or destroyed which forgotten in workshops runs that an organization Common Wheel, at the works He bicycles. is customizing whose specialty man wise a O’Hara, IJohn met There in Glasgow. CCA from McKee and CoveFrancis Park from Holt Alexia by Scotland in residency asix-month for was invited In I 2008 one. to have wanted I always and there, here and bikes customized seen I’ve vehicles. otherand people, other weather, from the them protect tothings with cases bags and of lots haul people bikes those do. In people homeless some as house, portable into a turn it you can cases, extreme some In tassels. of a with couple it ordecorate you paint even can Sometimes a basket. or asatchel, mirror, a big saddle, a different a horn, adding needs, your specific to it according you customize one, you buy they alive. are When me to yet regardless, made, are industrially bicycles time the of Most size. color, and Valentina Jäger, and Maureen Tsakiris. We performed live in some of the city’s public spaces. Another I made in in Imade Another spaces. the city’spublic of some performed in live We Tsakiris. Maureen and Jäger, Valentina AC vehicles. your sonic about also very curious am I vagabonds? they Are your sculptures. in element humorous and HY Installation views of

I am curious about all the vehicles in your work: they can be bicycles or carts. There is a mobile and romantic romantic and is a mobile There orcarts. bicycles theybe your can work: in vehicles all about the curious I am For me the vehicles are, first of all, objects. Because of this, they each have a specific weight, shape, texture, texture, weight, shape, specific a have each this, they of Because all, of objects. first are, the vehicles me For Page 9 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. TheAutoconstrucción Suites — there I wrote a new set of songs with music by Gabriel Acevedo Velarde, Sebastian Gräfe, Gräfe, Sebastian Velarde, Acevedo by Gabriel with music songs of new set a wrote I there of 13 of

, 2013, dimensions variable, Walker Art Center, Minneapolis. Center, Art Walker variable, dimensions 2013, , Summer City —very personal stuff became a music album. But it’s also a also a But album. it’s a music became stuff personal —very

2013

Bomb Magazine Magazine Bomb Visual Arts Visual y y Galerie Chantal Crousel with a gun, for example. example. for a gun, with or myself nature destroy also I can a drawing, but make to a brush things, like make to thumb opposable hand’s mywith something only hold cannot that I myself towanted remind also Eréndira. I Alejandra, Jesús, Rogelio, Ángeles, some members: family of names the drawings the why Igave That’s relatives. our closest they’re them; to proximity our genetic highlight trying to also was I apes, of drawings of a series when I made Recently, person. a as also but artist, an as only not education, in my key factor a been has This people. the of opinion in politics circumstances negative and attitudes to ridiculous point that cartoons newspaper of tradition important an we have Here Mexico. in only not obviously power, state against element a strongcritical have Political cartoons work. my in element important very still a is humor but toway draw, right the I’ve unlearned Performance view of of view Performance in film the motorcycles the by inspired was last bike This me. by whistled it all of Latin America, from music protest ’70sand 1960s some and Force) Blessing the called the collective from (especially local music some Iappropriated Oxford. 21, 2009, San Francisco. Photo by Johnna Arnold. Courtesy of the CCA Wattis Institute for Contemporary Arts. Contemporary for Institute CCAthe of Wattis Courtesy Arnold. byJohnna Photo Francisco. San 2009, 21, AC Mexico? in painting mural as such tradition, figurative the with do to something have r or calligraphy like look also they but They’rerealistic styles. of variety amazing an in eloquently, drawn They’re your gorillas. about to think HY

There is one thing I unlearned thoroughly: how to draw. You seem like a genuinely talented draftsman. I have have I draftsman. talented a genuinely like You seem draw. how to thoroughly: unlearned isI one thing There

In the late ’80s, I worked as a cartoon artist. I’ve liked to draw since my drawsince to liked I’ve artist. a as cartoon worked I ’80s, late In the Quadrophenia Page 10 Page Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013.

CRV: Collaborative CRV: of of . . 13 eliefs, like carvings on the wall! Do you think that’s just due to your talent or does this or does your talent to due you just that’s Do think wall! on the carvings like eliefs,

Re -creation Vehicles , 2009, parade and race, CCA Wattis Institute for Contemporary Arts, November November Arts, Contemporary for Institute CCA race, Wattis and parade 2009, , Summer

2013

childhood, as almost everybody else. else. everybody almost as childhood,

— they become the the become they Bomb Magazine Magazine Bomb Visual Arts Visual Galerie Chantal Crousel enamel on kraft paper, 118 3/25×157 24/25 inches. Courtesy of the artist and kurimanzutto, Mexico City. Mexico and kurimanzutto, artist the of Courtesy inches. 24/25 1183/25×157 paper, on kraft enamel above: above:

Nuestra imagen actual: Helena actual: imagen Nuestra Page 11 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. of of 13

; below: Nuestra imagen actual: Alejandra actual: imagen Nuestra Summer

2013 . Both images 2012, vinyl paint, ink, andwater ink, paint, vinyl 2012, images Both .

Bomb Magazine Magazine Bomb - based acrylic acrylic based Visual Arts Visual Galerie Chantal Crousel in Gwangju, where I found some other books related to history, including one on the uprising of 1980 against the against 1980 of uprising the on one including history, relatedto other books some I found where in Gwangju, recen more Korea, to other trips during happened This theyme. find books; for look never almost I attention. my AC HY otherwith artwork. any like just materials, and with shape their cohere ideallywhich should content, mere beyond is absolutely that something have They saying. are they what understand try to I in hands, my IfeelAs them me. to important is very boxes) covers, album stickers, flyers, posters, (including publications of thingness the objects; as of are thought that magazines and books like I textualcontent. all possible mention to .not . . gluing size, stitching, ink, paper, captions, choosing abook: for decisions making through learn atolot There’s publications myself. make project Alias, based in Mexico City, designed for sharing hard- sharing for City, designed Mexico in based Alias, project with twisted you,the with he designed book includingthat stuff, good really make them of Both do. Räder Manuel and Deball Castillo Mariana artists the our as dear friends books, I like Chinese. in many also but Korean in many and shapes, signs exquisite those of any understand to being able notwas there Ifaced problem only The it. in interested so not are generations younger because a sad moment, other religiou and prayers, texts, and drawings extraordinary Theyall contained books. handmade verybeautiful with bookstore nice a the avenue, across and in Korea), SeonBuddhism of temple (the chief Jogyesa on one around: daywalking dishes for dinner that were cooked easily: noodles and rice, a sort of quick quick of rice, a sort and noodles easily: cooked were that dinner dishes for simple little some You made also works. her in your interest understood I Indirectly with me. Trockel Rosemarie some some Eungie Joo to sing karaoke and drink cheap beer and and beer cheap drink and karaoke sing Joo to Eungie and Chong, Doryun Kim, Clara with out went I in 2010, biennial City Media the Seoul, for I time went to first The

HY voyeur. animist an like bit a feel I the piece. of elements the with play to than other no effort I make which in orgy an eloquent itup, becomes set I’ve situation or specific or project, in sculpture, the objects than two more there are when Sometimes, sorts. of ow AC general? in your production is behind struggle of what kind it If is not, effortless? really it Is effortless. so looked it eloquent, everything Like its eloquence. sculpture was a yours encountered Iever piece of first The you make. whatin found is also thinking in eloquence HY AC n existence beyond me. When I make a sculpture, I think it is alive as well. I see myself more as a matchmaker a as matchmaker more myself well. I see as is alive it think a sculpture, I Imake When me. beyond n existence Are you a book collector? collector? youa book Are That vitality. and fluidity, complexity, of degree high your a have thoughts thinker; a rich You are such I have no special criteria for acquiring books; I just let them seduce me. I prefer that they choose me by calling me choose that they I prefer me. seduce let I just them books; acquiring for criteria special no I have When we find a way to communicate, eloquence happens. I like to use language as a live organism. It has its It has organism. live a as language to use like I happens. eloquence communicate, to way we a find When Yes, of course, I remember that visit to your studio in Kreuzberg very well. You shared some books on books some Youwell. shared very Kreuzberg in studio your that to visit I remember course, of Yes, Once you purchased books in Korean, which you can’t read. So what do books mean to you? to mean books do what So youcan’t read. which in Korean, books you purchased Once makgeolli I double-checked the caption next to it to memorize your name, because I was so heavily impressed by by impressed was heavily I so because your name, to it memorize to next caption the —I double-checked Page 12 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. s content. It was impressive to witness the long tradition in calligraphy that, as I’ve been told, is now in now is told, been I’ve as that, calligraphy in long tradition the witness to impressive was It content. s to drink. drink. to of of 13

Summer all night long. I found some good books the next books good I foundsome long. all night makgeolli

to 2013 -find orout- -find

pages. I also like Damián Ortega’s generous generous Ortega’s Damián like I also pages. bibimbap of -print art books in Spanish. I also inIalso Spanish. artbooks -print with some wine. We had wine. We with some fonts, images, images, fonts,

Bomb Magazine Magazine Bomb Visual Arts Visual tly tly Galerie Chantal Crousel objects. precious be to have don’t necessarily Good books itself. object the than important more became content the case In this dictatorship.

Page 13 Page

Haegue Yang.Haegue “Abraham BombMagazine, Cruzvillegas”, Summer 2013. of of 13

Summer

2013

Bomb Magazine Magazine Bomb Visual Arts Visual Galerie Chantal Crousel it’s improvised. dent architecturethatisfar fromanyplanningordraft: ding projects,itpointsto anautonomousandindepen- unfair wealthdistribution. As opposedtomassivebuil- it’s notbricolage orDIY culture—it’s aconsequenceof and diverse. Autoconstrucción isnot aweekendhobby; materials andhybridconstructionstrategiesarevery rich on place,circumstance,orchance. The combinationsof builders touseanythingavailableorathand,depending Aesthetic decisionsareintertwinedwiththeability ofthe according tochangesinthelivesoftheirresidents. difications, cancellations,anddestructions;they evolve it ispossibletoexperiencetheirtransformations, mo- autoconstrucción processintheirlayers,throughwhich of neighbors,relatives,andfriends.Housesshowthe collaboration ofallfamilymembersandthesolidarity sporadically, astheycan,withlimitedmoney, withthe house atonce.Peoplebuildtheirownhomesslowlyand by thelackoffundstopayforconstructinganentire technique thatisledbyspecificneedsofafamilyand The autoconstrucciónconceptcomesfromabuilding Origins multifaceted project. ción Suitesisthefirstmajorexhibitiontofocusonthis own identity. Abraham Cruzvillegas: The Autoconstruc- also servingasametaphorfortheconstructionofhis his practiceandhowitunderpinsartisticvisionwhile a sculptureorinstallation.Here,theartistshedslighton own strikingcharacterandseeminglyprecariousformto Each ofthesecommonplacecomponentscontributesits gju, SouthKorea. France; Glasgow, London,andOxford,UK;Gwan- vironments inMexicoCity;New York; ParisandSaché, he’s givennewlifewhileworkinginurbanandruralen- “self-construction,” madefromfoundobjectstowhich riveting bodyofworkthathecallsautoconstrucción,or materials andimprovisationalprocesses. The resultisa bringing afreshconceptualstrategytotheuseoffound become recognizedasakeyfigureamonghisgeneration, Over thepast10years,MexicoCity–basedartisthas a newusebyrevealinginsteadofhidingtheirnature.” garbage,” says Abraham Cruzvillegas,“andgivethem “I use‘dead’ things,ormaterialspeoplethinkofas Abraham Cruzvillegas. “Prime Matter: Abraham Cruzvillegas on‘autoconstruccion’ Cruzvillegas.Abraham “PrimeMatter:”,Walker Cruzvillegas Abraham Art http://www.walkerart.org/magazine/2013/abraham-cruzvillegas-art-autoconstruccion Center, March 14,2013. Galerie Chantal Crousel a wayofthinking morethanamethod oratechnique;it’s trucción can takeshapeininfiniteand diverseways.Itis As astructureinwhicheverything ispossible,autocons- What ItMeans “autodestrucción.” a theatricalplay, andafilm.Maybeit’s timeto moveto autoconstrucción sculptures,drawings,paintings, videos, the CentreforContemporary Art. At thispointI’vemade where IwasinvitedbyFrancisMcKeetodoaproject at years oftheautoconstrucción.Itwaspublishedin Glasgow, including somelentbyneighbors,capturedduring theearly This textbecameabookaccompaniedbymanyimages, witnessed allthoseyears,withoutnostalgia—just facts. Then Iwrotethestoryofmyownexperience,what I canic rockthere,anddetailsofmyparents’ house. many picturesofthehousesinmyneighborhood,vol- that hadbeenunderlyingmyworksince1999,whenItook idea asapersonalfact(andnotchosensubjectmatter) I wantedtoactivatetheprocess.startedworkingwith mics ofautoconstrucción—ratherthanrepresenttheresults, around agallery. Iwasattemptingtoreproducethedyna- exhibition inNew York, workingonlywithmaterialsfound for allmyworksince2007,whenIimprovisedawhole I haveappropriatedtheterm“autoconstrucción”asaname When IStartedtoUseIt Mexico. many ofthemasconstructionworkersinso-calledmodern with youngguysandchildren,whilemenwereworking, activity. Women becameleadersinthosemovements,along for streets,accesstoelectricity, etc.,becameaneveryday at all.Fightingforthislandtobecomeproperty, aswell For yearstherewasnowaterandingeneral,services and recycledmaterialsgatheredinotherneighborhoods. Bit bybit,theystartedbuildinghouseswithlavastones better lifeinthebigcity. 1960s byimmigrantsfromthecountrysidelookingfora a landofvolcanicrockthatwassettledstartingintheearly my parent’s housein Ajusco, southofMexicoCity. This is during thefirsthalfofmylife,witnessingevolution in mypersonalexperienceIlivedwithautoconstrucción as inBrazilianfavelasorSouth African shantytowns, While thiskindofbuildinghappensallaroundtheworld, Abraham Cruzvillegas. “Prime Matter: Abraham Cruzvillegas on‘autoconstruccion’ Cruzvillegas.Abraham “PrimeMatter:”,Walker Cruzvillegas Abraham Art http://www.walkerart.org/magazine/2013/abraham-cruzvillegas-art-autoconstruccion Center, March 14,2013. Galerie Chantal Crousel expression ofsurvivalandwork.It’s alsohumorous,ironic,paradoxical,anddelirious. is notbiographicaloranecdotal,narrative, it’s notthematicorcommunicative.Itisthevery to arrive to a certain degree of consciousness based in all that I’ve mentioned above. Autoconstrucción more anideologicalconsequenceinwhichallmyactsinvolvegenealogyandfutureastrying rity, roughness,andresistancetotheenvironment,localgovernors,self-indulgence.Nowit’s and notonlybecauseofgrowingupinachallengingsituation,learningtodealwithscarcity, solida- Autoconstrucción meantforme,manyyearsbeforemakingart,aconstantstrugglewithauthority, dow ofagovernmentoffice,itwillstillbestone.Buthappyone. same stoneisremovedfromthepavementtobethrownoverapolicebarricade,orthroughwin- chitecture approach;itdoesnotrepresentanythingelsebutastonebeingasstone. When the viewer’s mind. And inmyhands,ofcourse.So,astoneisbefore,during,andaftertheart/ar- there isnoalchemicaltransformation,trickormagic. Transformation occursonlyinthe Even ifthepieceislaterdismantled,itsfragmentsremainastheywerebeforeincorporated: plastic, orsheepdung—theyretaintheiroriginalqualitiesanddefects. aluminum, wood,aforgotten bicycle,myownhair, sharkjaws,acowbell,teeth,chair, wax,coins, these goods. Then anewcyclestarts. When Imakeanartworkwithfoundobjectsormaterials—i.e., the garbageinordertogivethemanewlife. They collect,classify, accumulate,resell,andtransform in Mexicopickcardboard,metals,discardedfurniture,cans,bottles,paper, andothermaterialsfrom ped countries,scavengingandharvestingusedmaterialsobjectshasbeenanactivity. Pepenadores Recycling hasonlyrecentlybecomeawidespreadpractice,butforcenturiesinso-calledunderdevelo- be seenasprimematter. Autoconstrucción doesnotdealwithgarbage,butprimematter. might beused. When anobjectisdiscardedbyaperson,it’s valueless;forautoconstrucción,itcould construct ismoreimportantthantheaestheticoreconomicvalueofanyallmaterialsthat ción; andthisevidenceproducescomplexreadingsforbothviewersinhabitants. The willto It’s easytoperceivetheeconomicandculturaloriginsofmaterialscomposingan autoconstruc- System ofProduction/IdeologicalFramework transparency, simplicity, andchange. tances. It’s pureingenuityandwill,fueledbyhermeneutics,use,functionand/orcontradiction. Itis construcción isthemostauthentictypeofcreativity, becauseitbloomsinthemostadversecircums- expressing oneself)arerulesofautoconstrucción,thatprovideabsolutefreedom.Forme,auto- a wayoflife.Improvisationandtestingallkindscombinationsaccordingtospecificneeds(like Abraham Cruzvillegas. “Prime Matter: Abraham Cruzvillegas on‘autoconstruccion’ Cruzvillegas.Abraham “PrimeMatter:”,Walker Cruzvillegas Abraham Art http://www.walkerart.org/magazine/2013/abraham-cruzvillegas-art-autoconstruccion Center, March 14,2013. Galerie Chantal Crousel , n°65,January-February ArtChris Sharp.Review Cruzvillegas», «Abraham 2013,p81. Galerie Chantal Crousel , n°65,January-February ArtChris Sharp.Review Cruzvillegas», «Abraham 2013,p81. Galerie Chantal Crousel , n°65,January-February ArtChris Sharp.Review Cruzvillegas», «Abraham 2013,p81. Galerie Chantal Crousel , n°65,January-February ArtChris Sharp.Review Cruzvillegas», «Abraham 2013,p81. Galerie Chantal Crousel , n°65,January-February ArtChris Sharp.Review Cruzvillegas», «Abraham 2013,p81. Galerie Chantal Crousel , n°65,January-February ArtChris Sharp.Review Cruzvillegas», «Abraham 2013,p81. Galerie Chantal Crousel

Andrew Berardini. ‘‘AAndrew Berardini. Fortuitous Encounterwith interview colorinthestreet: with Abraham Cruzvillegas,’’ MousseMagazineCruzvillegas,’’ N°34,Summer2012,pp. 214-219. Galerie Chantal Crousel

Andrew Berardini. ‘‘AAndrew Berardini. Fortuitous Encounterwith interview colorinthestreet: with Abraham Cruzvillegas,’’ MousseMagazineCruzvillegas,’’ N°34,Summer2012,pp. 214-219. Galerie Chantal Crousel

Andrew Berardini. ‘‘AAndrew Berardini. Fortuitous Encounterwith interview colorinthestreet: with Abraham Cruzvillegas,’’ MousseMagazineCruzvillegas,’’ N°34,Summer2012,pp. 214-219. Galerie Chantal Crousel

Andrew Berardini. ‘‘AAndrew Berardini. Fortuitous Encounterwith interview colorinthestreet: with Abraham Cruzvillegas,’’ MousseMagazineCruzvillegas,’’ N°34,Summer2012,pp. 214-219. Galerie Chantal Crousel

Andrew Berardini. ‘‘AAndrew Berardini. Fortuitous Encounterwith interview colorinthestreet: with Abraham Cruzvillegas,’’ MousseMagazineCruzvillegas,’’ N°34,Summer2012,pp. 214-219. Galerie Chantal Crousel Davies, GalerieChantalCrousel”. Cruzvillegas, Lillian.“Abraham Artforum, February 2011.