The First Art Newspaper on the Net   Established in 1996 Tuesday, October 20, 2020


Mexican artist's first European retrospective exhibition opens at the Stedelijk Museum Amsterdam
Carlos Amorales, Orgy of Narcissus, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum. Photo: Peter Tijhuis.



AMSTERDAM.- The first ever retrospective exhibition in Europe of the work of Carlos Amorales will open at Stedelijk Museum Amsterdam during Amsterdam Art Weekend 2019. Carlos Amorales – The Factory showcases the work of one of Mexico’s most important contemporary artists from the 1990s to the present day –the most recent piece was made especially for the exhibition. Spanning 14 rooms of the museum, the exhibition includes spatial works, installations, paintings, drawings, videos, prints, textiles, animations, and sound works, which Amorales incorporates in his open, non-chronological, large-scale spatial installations. Visitors will be able to navigate their own route around Amorales’s world of fantastical images and stories that explore the field of tension between the individual and society.

Carlos Amorales began his career in Amsterdam in the 1990s, as a student at the Gerrit Rietveld Academie and the Rijksakademie. It was during this period in the city that he changed his name to Carlos Amorales, a conceptual identity which he would ‘lend’ to other people as part of his enquiry into the function of art in everyday life. He lent the Amorales character (a masked figure inspired by Mexican lucha libre wrestlers) to artist friends, fighters, and strangers. They adopted his stage name and donned his mask to take part in wrestling matches and in performances in museums and other art institutions in Europe, US, and Mexico (venues include Tate Modern and Centre Pompidou).

Amorales left Amsterdam in 2004 to return to Mexico City, where he set up his own studio. Inspired by the media’s mass production and distribution of imagery – and with references to Warhol’s Factory and Disney’s early animation studio – Amorales and his team created a digital image bank titled Liquid Archive containing thousands of monochrome silhouettes in vector format. On request, this resource for the artist and his team is sometimes shared with third parties. The Liquid Archive has formed the basis for the rich and multifaceted body of work that Amorales has built up over the last 15 years. The essentially open-source character of the images that Amorales creates (other people have ‘borrowed’ freely from them), means they can detach themselves from the world of autonomous art and stray into the realms fashion, music videos, tattoos, and record covers – through which they return to art in the form of work by other artists. Amorales’s Factory is a nod to pop culture and to our neoliberal world in which, the artist says, “the globalized assembly-line has gotten a bit out of hand."

Exhibition curator Martijn van Nieuwenhuyzen: “I have been following Carlos Amorales’s work since his Amsterdam years. When I visited him in Mexico City early last year, I was again impressed by his multifaceted practice and the keen intelligence with which he manages to walk that fine line between the aesthetic and the socio-political while foregrounding a multitude of topics, such as the roles artists can adopt within and outside the art world, the experience of being an outsider in an unknown culture, the infinite malleability of language, and the almost absurd torrent of images flooding the Internet. It has been a particularly rewarding experience to curate my final exhibition at the Stedelijk Museum with this inspiring Mexican artist."

The relationship between society and the individual is at the center of much of Amorales’s work. He also has a particular interest in the choices facing artists, whether in the everyday context of the realities of life in Latin America or in the art historical context of the experimentations of the European avant-garde movements. What does it mean to be ‘socio-politically engaged’? Is it possible to be experimental while living in a dictatorship, and what might the societal consequences be? What instruments are available to artists wanting to speak out about ubiquitous oppression and violence? In direct and oblique, metaphorical ways Amorales’s installations, videos, paintings and sculptures explore the field of tension between individual concerns and societal constraints. Sometimes he is playful, such as when he lures the visitor into activating a monumental mobile of cymbals, but then there are the initially enchanting animations such as The Cursed Village, in which a pastoral scene degenerates into a lynching, and the Black Cloud installation in which swarms of black butterflies surround the viewer, making tangible the menace of the masses.

Working together with Textiellab in Tilburg, the Netherlands, Amorales has made a new installation for The Factory titled Orgy of Narcissus (2019), a frieze comprising 60 sections of textile woven from silk thread in which the artist examines the phenomenon of the Internet meme (images that spread rapidly online, their form and meaning constantly shifting) with overlapping streams of depictions of a figure captured in an endless narcissistic orgy.

The exhibition is curated by Martijn van Nieuwenhuyzen in close collaboration with the artist.










Today's News

November 24, 2019

The British Museum opens the first major Troy exhibition in the United Kingdom

France vowed to return looted treasures. But few are heading back

Helen Frankenthaler display now open at Tate Modern, including major new gift to the collection

Christie's to offer Marina Abramović's mixed reality work 'The Life'

Gangalidda Garawa and Nyamal Nations receive significant material from Manchester Museum

Tom Spurgeon, who surveyed the comic book world, dies at 50

A golden toilet is still at large

mumok opens 'Objects Recognized in Flashes'

The Approach opens an exhibition of works by Hana Miletić

First Russian exhibition of British fashion photographer Miles Aldridge opens in Moscow

Paul Mogensen epresented by Blum & Poe

Mexican artist's first European retrospective exhibition opens at the Stedelijk Museum Amsterdam

It's her exhibition, and she's sharing

Il Guercino leads Old Master Drawings at Swann Galleries

Ackerman Studios presents 'Sacred Sceneries' by Ewan David Eason at After Nyne Gallery

Maurizio Nannucci's greatest artwork illuminates the Pilotta Monumental Complex in Parma

Enter the city of Paris in 1929 and explore the art of more than 20 artistic revolutionaries

Posthumous Leonard Cohen album offers apt final waltz

Jean-Michel Othoniel's first exhibition in Shanghai on view at Perrotin

Meet the artists in Mickalene Thomas's orbit

New book captures a rapidly changing culture and a unique moment in Tottenham Hotspur's history

Holabird to hold 5-day Holiday Treasures Auction, Dec. 5-9 in Reno

Telfair Museums announces curatorial promotions

First solo exhibition of works by American artist Leo Villareal in London opens at Pace





Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful