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Carlos Amorales Work Documentation 1996-2015

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Carlos Amorales Work Documentation 1996-2015 Carlos Amorales 1 Work Documentation 1996-2015 Carlos Amorales Abraham Gonzales 130, interior 15 Col. Juarez, Del. Cuauhtemoc, C.P. 06600, Mexico City. [email protected] Represented by Tel 5255 52769039 www.estudioamorales.com Galeria Kurimanzutto in Mexico City Index of Works 2 Page 31: Black Cloud, 2007 Page 4. Geometric Splendor, 2015 Page 19: We Will See How Every thing Reverberates, 2012 Page 32: Drifting Star, 2010 Page 5. The Eye Me Not, 2015 Page 20: Vertical Earthquake, 2010 Page 33: Dark Mirror (sculpture), 2008 Page 5. Triangle Constellation, 2015 Page 21: Germinal, 2010 Transformable Spider Webs, 2008 Page 6. The Man Who Did All Things Page 22: Forbidden, 2014 Apple Juice Can, 2012 Page 34: Psicofonias, 2008 Page 8: Never Say in Private what you The Tounge of the Death, Page 35: Useless Wonder, 2006 (won’t) say in public, 2014 2012 Page 36: Dark Mirror, 2005 Page 23: Page 9: Erased Symphony, 2013 Fructidor (from the French revolutionary calendar series), Page 37: Why Fear the Future?, 2005 Page 10: Typographical Pattern for Mass 2011 Reproduction, 2013 Page 38: Liquid Archive, 2000-10 Playing Between the Lines Page 11: Orellana’s Fantasia, 2013 (musical score series), Page 39: Nuevos Ricos, 2003-09 2011 Page 12: The Sorcerer’s apprentice, 2013 Page 40: Devil Dance, 2000-2003 Page 24: Vagabond in France and Page 13: Animated Type, 2013 Belgium, 2011 Page 41: Flames Maquiladora, 2001-03 Page 14: Amsterdam, 2013 Page 25: Throwing the Studio Out of the Window,2010 Page 42: Amorales vs Amorales, Page 15: Screenplay for Amsterdam,2013 1999-2003 Page 27: Herramientas de Trabajo, Page 16: Coal Printing Machine, 2010 Page 43: In Conversation With Ray 2012 Rosas, 2007 Page 28: La Hora Nacional, 2010 Page 18: Supprimer, Modifier et Amorales Interim, 2007 Preserver, 2011 Page 30: Black Cloud Aftermath, 2007- 2011 Arena 2 de mayo, 2007 Index of Texts 3 Page 44: For Amorales Interim by Philippe Vergne Page 47: Gallery Exploits by Cuauhtémoc Medina Page 48: Pleased To Meet You by Lisette Smitts Page 49: Liquid Archive by Raphaela Platow Page 53: Black Cloud Aftermath por Graciela Speranza Page 58: Amorales’ claim by Adrian Notz Page 63: Amorales vs. Amorales by Jens Hoffmann Page 66: A Conversation With Carlos Amorales by Hadas Maor Page 73: Joan Jonas and Carlos Amorales: A Conversation Page 79: Curriculum Vitae 4 Geometric Splendor Geometric Splendor is a series of twelve collages that construct meaning. Despite their apparent abstraction, 2015 incorporate color for the first time into the work of the works on view recall Amorales. Based on smaller compositions made with landscapes; different shades suggesting the passage of color paper samples, these large-format works present time and seasonal changes of light. In the exhibition, collage as an action or as a verb. Beyond its definition Amorales proposes a discussion about as pictorial technique, collage is introduced as a tool to temporality through the use of form and color. 5 The Eye Me Not Through the dream of an opium addict, the film revisits Suprematist artist Kazimir Malevich, strains of pedagog- 2015 an Inuit myth where the protagonist has become invisible ical and political theory articulated by Joseph Beuys, as HD Film, color, with sound, to European traders with whom he tries to trade goods. well as the controversial texts by Chilean writer Manuel This narrative is intermixed with a rich variety of 40 min, Screening size 5 x 3 m approx. Serrano. The idea of collage permeates the entire project; sources: paintings, costumes and set designs by Russian opening new associative and narrative possibilities. 6 Triangle Constellation The mobile sculpture consists of 16 chrome-plated creates a visual idea of sound, but it can also be physi- 2015 steel triangles of graduated shape and scale attached to a cally activated: on special occasions, the sculpture will be Mobile Sculpture spine of 15 interconnected matte-black painted steel bars. played by using a stick. Amorales conceived the sculpture The triangles decrease in size progressively, from Painted steel, chrome-plated steel, and rope. as a means of creating a collective experience for visitors top to bottom. At the tip is a playable triangle, to the museums. Through the work’s suspended forms, the Comissioned by the Harvard Museums suspended 10 feet above the courtyard floor. The work museums’ interior spaces are tied together. 7 The Man who Did All Things Forbidden The film departs from an historical research about how of his interest on starting a new form of artistic avant- 2014 Chilean poetry became radicalised by politics after the garde that would transcend all political sides by combin- HD Film, black and white, with sound, 1973 Coup D’Etat, with the posterior introduction of a ing them. The film then enters a story that develops on neo-liberal economy in that country. In the first part of 40 min, Screening size 5 x 3 m approx. a mythological level, where we follow a man breaking the film we see the main actor discussing with a Chilean different social taboos inside the micro community where television anchorman the reasons of his stay in Chile and he lives. 8 Never Say in Private what you The book is about the intellectual procedure to achieve rehearsals, the Ideological Cubism manifesto and docu- (won’t) say in Public Carlos Amorales’ film “The Man Who Did All Things ments on interventions in mass media. Edited by Carlos 2014 Forbidden”. It is structured in eight chapters. They Amorales and Isaac Muñoz Olvera, designed by Ivan include drawn sketches, emails, conversations during the Book, screenplay Martinez & Laura Pappa, published by One Star Press. 9 Erased Symphony “Erased Symphony” is based on the idea that existing Emperor Waltz by Strauss undergoes a gradual process 2013 cultural narratives are subject to erasure, whereby the fo- of erasure, albeit not the original version is modified but Performance at Klangforum Wien cus is not only on evident extinction but also processes of Arnold Schönberg’s transcription of the waltz from 1925 disappearance, revaluation, densification, corrosion, etc. Color Video Doucmentation for flute, clarinet, string quartet, and piano. 10 Typographical Pattern for Mass Reproduction 2013 Oil on canvas 180 x 180 cm 11 Orellana’s Fantasia “Orellana’s Fantasia” is a short film that registers the a set of symbols and notations that he invented to do so. 2013 shadows of a performance by Guatemalan contemporary Carlos Amorales and musician Julian Léde commissioned Made in collaboration with Julian Lede music composer Joaquin Orellana, who built a set of him in 2012 to create his own version of the score for a instruments that are analogue models made to perform Digital film projected on a 3 x 1.7 m screen segment of the classic animation film “Fantasia” by Walt as if they where electronic instruments. Each instrument Disney, which we hear in this video. With sound has to be performed by following a score written out of 12 The Sorcerer’s apprentice This film was realized following the experience that through a black and white photocopy machine, diluting 2013 Amorales had by working with Joaquin Orellana. The the original image. sinchronized double screen, process of this animation required to work frame by Later, each photocopy was manually torn in two pieces, frame from the original animation of Walt Dismey. Each video projection on wall without sound before being digitalized again and reordered through a frame has been extracted and reproduced several times post-production process. 13 Animated Type 2013 Proyección Blanco y negro sin sonido. 4:3. Dos serigrafías de 120 x 180 cm c/u 14 Amsterdam “Amsterdam” is a fictional film made from a screenplay ed through the filming process, the actors physical expres- 2013 written in collaboration with author Reinaldo Laddaga. sions became the predominant form of communication, Digital film projected on a 3 x 1.7 m screen. The obstruction of understandable language allowed for allowing to experience an “state of exception” compa- the actors and the director to improvise when shooting Black and white, with sound. rable to a moment of social anarchy. Ultimately “Amster- the scenes. As spoken language and text became abstract- dam” could be considered a love story gone strange. 21 min. 15 Screenplay for Amsterdam The script for the film was made by cutting, mixing, and 2013 superimposing images of the actors, the texts, the signs 100 photocopies in black and white and the symbols in a photocopier. The immediacy of the photocopy allowed a method of free association to 21.5 x 28 cm each develop, which was useful for the conception of the film. 16 Coal Printing Machine Exhibited for the first time in a former coal mine in symbols that supposedly can invoke demons but which 2012 Belgium, this paper labyrinth generates from the out- also are considered to be the predecessors of the elec- Installation: machine, coal, steel, epoxy paint and put by a machine which draws with coal. By making an tronic circuits that are in use today. The machine func- analogy between the mine’s excavated underground and paper banners tions through the span of the exhibition, changing the the Hades, the drawings are repetitive patterns of magic structure of the labyrinth day by day. Variable dimensions 17 Coal Printing Machine 2012 Views from the working process. 18 Supprimer, Modifier et Preserver An updated version of the French civil code was printed process, the erasable books became a tool to question the 2011 with graphite and then given to different lawyers to erase, meaning of social rules that where written centuries ago Books made with graphite, paper and cardboard.
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