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abraham cruzvillegas

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the invincible, 2002

rock, feathers and mixed media

18 x 15 x 4.5 inches

la moderna, 2003

6 sickles made of stainless steel, wood and paper

variable dimensions

la polar, 2002

photo umbrella and peacock and pheasant feathers

variable dimensions

objeto útil pero bonito, 1992

oil on canvas and iron handrail

20.87 x 70.87 x 2.76 inches

indio, 1997

installation of indio beer bottles

variable dimensions

aeropuerto alterno, 2002

knives and wood

variable dimensions

la ciudad de los espejos, 2003

wood, stainless steel and plastic

53.54 x 5.12 x 5.91 inches

progreso, 2003

brass hinge, moroccan toothpick-and-weed flowers, golf tees, and campecha wax

98.44 x 19.69 x 29.5 inches

roughness, 2006

found wood

37.4 x 90.16 x 2.83 inches

horizontes, 2005

pink acrylic enamel paint and chalk-board green paint on 268 found objects

variable dimensions

autoconstrucción: fragment: low budget column, 2nd floor, basement, (handicap), working, table mock up, projects, composta, duplex, and chucho's, roof, 2007

mixed media installation

118.11 x 186.22 x 127.17 inches

bougie du isthme, 2005

fishing poles, painted iron bottle rack, printed scarves and rubber

236.22 x 393.7 x 196.85 inches

ink & blood: 1968-2009, 2009

ink on paper, cardboard and rubber band. set of 41.

9.06 x 12.6 x 1.97 inches

autoconstrucción, 2009

color HDV video, with sound

1 hour, 3 minutes

autoconstrucción: a dialogue among angeles fuentes and rogelio cruzvillegas, 2009

two channel color HDV video, with sound (spanish) & subtitles (english)

34:21 minutes

haussmanian leftovers: richard lenoir, 2007

acrylic paint on wood and found cardboard boxes

variable dimensions

untitled scratchin relief with builders groove 3 (from the oxford suites), 2011

wall-cut drawing

259.45 x 148.43 inches

autoconstrucción (a project by antonio castro, abraham cruz villegas and antonio fernández ros), 2010

approximate duration: 70 min.

la familia, 2009

coconuts, artificial hair, steel wire and glue

variable dimensions

nuestra imagen actual: rollo, 2012

vinyl paint and ink on kraft paper prepared with water based acrylic enamel paint

118.11 x 157.48 inches

nuestra imagen actual: helena, 2012

vinyl paint and ink on kraft paper prepared with water based acrylic enamel paint

118.11 x 157.48 inches

autoconstrucción, 2010

wood, beer caps, bulbs, roots, fabric, iron

variable dimensions

the simultaneous promise, 2011

tricycle, portable PA, horn speakers, amplifier, car battery, metal tubing, mirrors

78.74 x 61.02 x 75.59 inches

autorretrato jacarandoso con las manos ocupadas, 2010

bananas, purse, wood, aloe vera, plastic, hair, metal can

63.78 x 23.62 x 22.83 inches

a new self portrait definitely unfinished, unstable, hand-made and coherent with the landscape, cursing on the per capita income at the ñhañhu region, 2012

wood, tennis ball, raffia and plastic bags

95.28 x 51.18 x 39.37 inches

self portrait giving a generous tip forgetting about the oil crisis, 2012

acrylic paint on wooden ironing board, copper, stainless steel bottle opener, cotton string, iron, shopping bag and leather therapy ball

69.29 x 109.45 x 36.22 inches

self portrait as a busy girl struggling hard for the right to be inefficient, 2012

aluminum tripod, raffia bag, cotton string, stainless steel, plastic, iron tools, printed canvas, painted wood and fragments of bricks and mortar from a fallen wall

107.87 x 89.17 x 25.98 inches

blind self portrait as hand-wounded jaranero baboon demonstrating at banjwai district, 2012

blue acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, posters, flyers, cards, recipes, napkins and steel pins on wall

variable dimensions

autoconstrucción, 2008

wood, wool, artist's hair, iron, tin, hemp cord, plywood, plaster, plastic rope, buoy, pipe, aluminum, chicken wire, ceramics, broom, coins, sheep shit and red  acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, flyers, cards, recipes, and steel pins on wall

variable dimensions

autoconstrucción, 2008

wood, wool, artist's hair, iron, tin, hemp cord, plywood, plaster, plastic rope, buoy, pipe, aluminum, chicken wire, ceramics, broom, coins, sheep shit and red  acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, flyers, cards, recipes, and steel pins on wall

variable dimensions

los señores del narco +2. el uso de los placeres, 2014

various materials

27.56 x 43.31 x 19.69 inches

sweaty & inefficient, 2012

wooden window frames, glass panes, beer bottle caps, coins, stainless steel, rubber tires, tape

variable dimensions

indecent & fragmentary, 2012

bamboo, bristles, paper envelope, electric wire, iron sickle

variable dimensions

hanging/pending, contradictory, unstable and gentrified self portrait, smelling like malt, stuck in the traffic jam, needing to take a shit since a while ago, listening to martha debayle, the next day having read 'campo de guerra' by sergio gonzález rodríguez, attempting to escape from the mystics of efficiency and competitiveness, with no signal on my cellphone, and dreaming about devouring a juicy papaya following the beat of 'demolición' by los saicos, 2014

wooden beams, iron elements, rebar, used bricks and stones, sheets of tin, organic elements

variable dimensions

image

the invincible, 2002

rock, feathers and mixed media

18 x 15 x 4.5 inches

image

la moderna, 2003

6 sickles made of stainless steel, wood and paper

variable dimensions

image

la polar, 2002

photo umbrella and peacock and pheasant feathers

variable dimensions

image

objeto útil pero bonito, 1992

oil on canvas and iron handrail

20.87 x 70.87 x 2.76 inches

image

indio, 1997

installation of indio beer bottles

variable dimensions

image

aeropuerto alterno, 2002

knives and wood

variable dimensions

image

la ciudad de los espejos, 2003

wood, stainless steel and plastic

53.54 x 5.12 x 5.91 inches

image

progreso, 2003

brass hinge, moroccan toothpick-and-weed flowers, golf tees, and campecha wax

98.44 x 19.69 x 29.5 inches

image

roughness, 2006

found wood

37.4 x 90.16 x 2.83 inches

image

horizontes, 2005

pink acrylic enamel paint and chalk-board green paint on 268 found objects

variable dimensions

image

autoconstrucción: fragment: low budget column, 2nd floor, basement, (handicap), working, table mock up, projects, composta, duplex, and chucho's, roof, 2007

mixed media installation

118.11 x 186.22 x 127.17 inches

image

bougie du isthme, 2005

fishing poles, painted iron bottle rack, printed scarves and rubber

236.22 x 393.7 x 196.85 inches

image

ink & blood: 1968-2009, 2009

ink on paper, cardboard and rubber band. set of 41.

9.06 x 12.6 x 1.97 inches

image

autoconstrucción, 2009

color HDV video, with sound

1 hour, 3 minutes

image

autoconstrucción: a dialogue among angeles fuentes and rogelio cruzvillegas, 2009

two channel color HDV video, with sound (spanish) & subtitles (english)

34:21 minutes

image

haussmanian leftovers: richard lenoir, 2007

acrylic paint on wood and found cardboard boxes

variable dimensions

image

untitled scratchin relief with builders groove 3 (from the oxford suites), 2011

wall-cut drawing

259.45 x 148.43 inches

image

autoconstrucción (a project by antonio castro, abraham cruz villegas and antonio fernández ros), 2010

approximate duration: 70 min.

image

la familia, 2009

coconuts, artificial hair, steel wire and glue

variable dimensions

image

nuestra imagen actual: rollo, 2012

vinyl paint and ink on kraft paper prepared with water based acrylic enamel paint

118.11 x 157.48 inches

image

nuestra imagen actual: helena, 2012

vinyl paint and ink on kraft paper prepared with water based acrylic enamel paint

118.11 x 157.48 inches

image

autoconstrucción, 2010

wood, beer caps, bulbs, roots, fabric, iron

variable dimensions

image

the simultaneous promise, 2011

tricycle, portable PA, horn speakers, amplifier, car battery, metal tubing, mirrors

78.74 x 61.02 x 75.59 inches

image

autorretrato jacarandoso con las manos ocupadas, 2010

bananas, purse, wood, aloe vera, plastic, hair, metal can

63.78 x 23.62 x 22.83 inches

image

a new self portrait definitely unfinished, unstable, hand-made and coherent with the landscape, cursing on the per capita income at the ñhañhu region, 2012

wood, tennis ball, raffia and plastic bags

95.28 x 51.18 x 39.37 inches

image

self portrait giving a generous tip forgetting about the oil crisis, 2012

acrylic paint on wooden ironing board, copper, stainless steel bottle opener, cotton string, iron, shopping bag and leather therapy ball

69.29 x 109.45 x 36.22 inches

image

self portrait as a busy girl struggling hard for the right to be inefficient, 2012

aluminum tripod, raffia bag, cotton string, stainless steel, plastic, iron tools, printed canvas, painted wood and fragments of bricks and mortar from a fallen wall

107.87 x 89.17 x 25.98 inches

image

blind self portrait as hand-wounded jaranero baboon demonstrating at banjwai district, 2012

blue acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, posters, flyers, cards, recipes, napkins and steel pins on wall

variable dimensions

image

autoconstrucción, 2008

wood, wool, artist's hair, iron, tin, hemp cord, plywood, plaster, plastic rope, buoy, pipe, aluminum, chicken wire, ceramics, broom, coins, sheep shit and red  acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, flyers, cards, recipes, and steel pins on wall

variable dimensions

image

autoconstrucción, 2008

wood, wool, artist's hair, iron, tin, hemp cord, plywood, plaster, plastic rope, buoy, pipe, aluminum, chicken wire, ceramics, broom, coins, sheep shit and red  acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, flyers, cards, recipes, and steel pins on wall

variable dimensions

image

los señores del narco +2. el uso de los placeres, 2014

various materials

27.56 x 43.31 x 19.69 inches

image

sweaty & inefficient, 2012

wooden window frames, glass panes, beer bottle caps, coins, stainless steel, rubber tires, tape

variable dimensions

image

indecent & fragmentary, 2012

bamboo, bristles, paper envelope, electric wire, iron sickle

variable dimensions

image

hanging/pending, contradictory, unstable and gentrified self portrait, smelling like malt, stuck in the traffic jam, needing to take a shit since a while ago, listening to martha debayle, the next day having read 'campo de guerra' by sergio gonzález rodríguez, attempting to escape from the mystics of efficiency and competitiveness, with no signal on my cellphone, and dreaming about devouring a juicy papaya following the beat of 'demolición' by los saicos, 2014

wooden beams, iron elements, rebar, used bricks and stones, sheets of tin, organic elements

variable dimensions

abraham cruzvillegas


* 1968, Mexico City.


Abraham Cruzvillegas's artistic process is deeply influenced by his surroundings; rather than being defined by a particular medium, many of his projects are linked by the platform autoconstrucción: A concept that draws from the ingenious, precarious, and collaborative building tactics implemented by the people living in Colonia Ajusco, his childhood neighborhood in Mexico City. He appropriated this term in relation to his practice to describe an approach of inventive improvisation and instability which presents change as a permanent state arising from the chaotic and fragmentary nature of life. The evolving notion of autoconstrucción has in turn yielded different approaches such as autodestrucción and autoconfusión. These inquiries have led him to explore his own origins and to collaborate with family and friends in a very personal form of research that results in a constant process of learning: About materials, landscape, people, and himself.


Through his oeuvre –which includes sculpture, painting, drawing, installation, and video–, Cruzvillegas reveals a close and constant engagement with the material world, immersing himself in the ongoing construction and transformation of personal and collective identities. Using a wide range of collected objects, his sculptures challenge the traditional conceptions of art making; while his paintings and drawings are marked by a keen depiction of the subject and a strong sense of humor —instilled in him from his early training as a political cartoonist. Parallel to his artistic production, Cruzvillegas has cultivated writing as an investigative tool of self-analysis that merges history, criticism, and fiction. His song lyrics and texts about art, politics, and culture are a layer to be added to his aesthetic practice.


Abraham Cruzvillegas studied Pedagogy from 1986 to 1990 at UNAM (Universidad Nacional Autónoma de México) in Mexico City while simultaneously attending Gabriel Orozco’s workshop Taller de los viernes. In 2012, he was the 5th laureate of the Yanghyun Prize and in 2006 he received the Prix Altadis d' arts plastiques.


His most important projects and exhibitions include: Autorreconstrucción: Social Tissue, Kunsthaus Zürich, Switzerland (2018); Sensory Spaces 12: Abraham Cruzvillegas, Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2017); The Water Trilogy 2: Autodefensión Microtonal Obrera Campesina Estudiantil Metabolista Descalza, Ginza Maison Hermès: Le Forum, Tokyo (2017); Autoconstriction approximante vibrante rétroflexe, Carré d'Art - musée d'art contemporain de Nîmes, France (2016); Empty Lot, Tate Modern, London (2015); Autodestrucción 7: Deshaciendo el nudo, Museo de Arte de Lima – MALI, Peru (2015); Abraham Cruzvillegas: Autoconstrucción, Museo Jumex, Mexico City and Museo Amparo, Puebla, Mexico (2014); Abraham Cruzvillegas: The Autoconstrucción Suites, Haus der Kunst, Munich, Germany (2014) and The Walker Art Center, Minneapolis, United States (2013); Self Builder’s Groove, Final Project for the Berliner Künstlerprogramm residency, Deutscher Akademischer Austauschdienst (DAAD), Berlin (2011); Autoconstrucción: The Film, REDCAT CalArts' downtown center for contemporary arts (2009); The Magnificent Seven: Abraham Cruzvillegas, CCA Wattis Institute for Contemporary Arts, San Francisco (2009); Autoconstrucción: The Soundtrack, CCA: Centre for Contemporary Arts, Glasgow, United Kingdom (2008), among others.


Additionally, his work has been included in various group exhibitions: Artaud 1936, Museo Tamayo, Mexico City (2018); Dwelling Poetically: Mexico City, a case study, Australian Centre for Contemporary Art, Melbourne (2018); WE DREAM UNDER THE SAME SKY, Palais de Tokyo, Paris (2017); The Revolution Will Not Be Gray, Aspen Art Museum, United States (2016); Atopía. Migración, legado y ausencia de lugar, MAZ - Museo de Arte de Zapopan, Mexico (2014); Mexico Inside Out: Themes in Art Since 1990, Modern Art Museum of Fort Worth, United States (2013); Blockbuster, Museo Universitario Arte Contemporáneo, MUAC, Mexico City (2011); Tate Modern Collection Displays, Tate Modern, London (2011); Paréntesis, MACO, Museo de Arte Contemporáneo de Oaxaca, Mexico (2009); Unmonumental, New Museum, New York (2007), among others.


His work has also a part of the following biennials: 21st Biennale of Sydney, Australia (2018); X Bienal de Nicaragua - Fundación Ortíz Gurdián, Managua (2016); Sharjah Biennial 12, United Arab Emirates (2015); 12 Bienal de la Habana, Cuba (2015); 9th Shanghai Biennale, China (2012); dOCUMENTA (13), Kassel, Germany (2012); 12. İstanbul Bienali, Turkey (2011); 6th SeMA Biennale Mediacity Seoul, South Korea (2010); 10 Bienal de la Habana, Cuba (2009); 54th Venice Biennial (2003).


Abraham Cruzvillegas lives and works in Mexico City.