* 1970, Mexico City
The work of Carlos Amorales is principally concerned with language and the impossibility or possibility of communicating through non-recognizable or un-codified forms: sounds, gestures, and symbols. He experiments at the limits of image and sign, using different media such as animation, video, film, drawing, installation, performance, and sound. His practice engages in various forms of translation, whereby instruments transform into his film’s characters, letters become shapes, and narratives unfold as non-verbal actions. Amorales used his Liquid Archive as the basis for many of his explorations – an archive he generated for over ten years starting in 1998, comprised of shapes, lines and nodes instead of words. Beyond the Liquid Archive, he has developed other alphabets and systems, which he employs to translate texts that range from museum wall labels to short stories. His pieces exist in a world of their own making, parallel to ours, constantly evolving at the same rhythm as their production process.
Carlos Amorales studied at the Gerrit Rietveld Academie, and afterwards he attended the Rijksakademie van Beeldende Kunsten (1996–97). He has completed residencies with Atelier Calder, Saché, France (2012); Mac/Val, Val-de-Marne, France (2011); and the Smithsonian Artists Research Fellowship, Washington, D.C. (2010).
His most important exhibitions include: Year of Mexico in the UK: Carlos Amorales, Turner Contemporary, Margate, United Kingdom (2015); The Man Who Did All Things Forbidden, Film Screening at the Philadelphia Museum of Art, Philadelphia, United States (2014); Germinal, Tamayo Museum Mexico City, Mexico (2013); Supprimer, modifier et preserver, Mac/Val, Vitry-sur-seine, France (2011); Discarded Spider, Cornerhouse, Manchester, United Kingdom (2010); Working Class Today… Mañana Nuevos Ricos!, Kunsthalle Fredericianum, Kassel, Germany (2009); Dark Mirror, Irish Museum of Modern Art, Dublin, Ireland (2008); Faces, The Moore Space, Miami, United States (2007); Carlos Amorales, MALBA, Buenos Aires, Argentina (2006); ¿Por qué temer al futuro?, Casa de América, Madrid, Spain; Artium, Vitoria-Gasteiz, Spain (2005); The Forest, Creative Time, “The 59th Minute”, Times Square, New York, United States (2004); Fighting Evil (with Style), Contemporary Art Museum USF, Tampa, United States (2002). Moreover, his work has been included in group exhibitions at institutions such as the Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2015); The Guggenheim, New York, The United States (2014); Phoenix Art Museum, Phoenix, United States (2013); Centre Georges Pompidou, Paris, France (2013); Werke aus der Sammlung migros museum für gegenwartskunst, Migros Museum für Gegenwartskunst, Zürich, Switzerland (2012); Museum of Contemporary Art San Diego, San Diego and The Museum of Latin American Art, Long Beach, United States (2011); S.M.A.K., the Municipal Museum of Contemporary Art, Ghent, Belgium (2010); Tate Liverpool, Liverpool, United Kingdom (2009); Barbican, London, United Kingdom (2008); Galleria Civica di Arte Contemporanea, Trento, Italia (2008); Museo de Arte Contemporánea de Vigo, Spain (2008); Mori Art Museum, Tokyo, Japan (2007); Museum of Modern Art MOMA, Nueva York, United States (2007); the Art, Neue Nationalgalerie, Berlín and the Neues Museum Weimar, Germany (2006), among others.
Furthermore, his work has been part of biennials such as the 10th Shanghai Biennale, Shanghai, China (2015); the 2nd and 8th Berlin Biennial, Berlin, Germany (2001 and 2014); Sharjah Biennal, Sharjah (2013); The 12th and 10th Bienal de La Havana. La Havana, Cuba (2015 and 2009); 5th Seoul International Media Art Biennial, Seoul, South Korea (2008); 2nd Moscow Biennial, Moscow Russia (2007).
Carlos Amorales currently lives and works in Mexico City, Mexico.