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carlos amorales

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black cloud, 2007-2018

on site installation. 45,000 black paper cutout moths affixed to the walls of large interior spaces


installation view at muac museo universitario arte contemporáneo, mexico city, 2018

my dear rational blonde, 1996-2018

hd video, color and sound

3:30 minutes

life in the folds, 2017

alphabet of ocarinas placed over tables, forming a poem. high temperature enamelled ceramic, compressed aluminum sheets prepared with imprint, silkscreen and varnish, fixed on a steel tubular base. film black and white, with sound. set of 100 xerographic prints on paper

45.28 x 472.44 x 303.15 inches approx. installed.


installation view at the 57th venice biennale, 2019
 

life in the folds (detail), 2017

alphabet of ocarinas placed over tables, forming a poem. high temperature enamelled ceramic, compressed aluminum sheets prepared with imprint, silkscreen and varnish, fixed on a steel tubular base. film black and white, with sound. set of 100 xerographic prints on paper

115 x 900 x 500 cm. (45.28 x 472.44 x 303.15 in.) approx. installed.


installation view at the 57th venice biennale, 2019

partituras para ocarinas, 3 & 12, 2016

xerographic print on paper

11.02 x 8.46 inches each

the cursed village (from the installation life in the folds), 2017

film black and white, with sound

13 minutes

learn to fuck yourself, 2017-2018

set of 72. gouache on paper

70.87 x 50.39 inches each


installation view at muac museo universitario arte cotemporáneo, mexico city, 2018

learn to fuck yourself (detail), 2017-2018

set of 72. gouache on paper

70.87 x 50.39 inches each

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 inches each


installation view at muac museo universitario arte contemporáneo, mexico city, 2018

axioms for action (detail), 1996-2018

set of 28. monotypes

39.76 x 27.95 inches each

el esplendor geométrico, 2015

installation with projection. hd video, color and sound; litography

50 minutes, "el no me mires" video. variable dimensions installation


installation view at muac museo universitario arte contemporáneo, mexico city, 2018

trabajo de oficina 3 & 6, 2018

coffee stain and post-it transfer on xerographic print on paper

11.18 x 8.35 inches each

ghost demonstration, 2019

acrylic on wooden panel

300 x 720 inches installed


installation view at the berkeley art museum and pacific film archive (bampfa), california, 2019

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 inches installed

image

black cloud, 2007-2018

on site installation. 45,000 black paper cutout moths affixed to the walls of large interior spaces


installation view at muac museo universitario arte contemporáneo, mexico city, 2018

image

my dear rational blonde, 1996-2018

hd video, color and sound

3:30 minutes

image

life in the folds, 2017

alphabet of ocarinas placed over tables, forming a poem. high temperature enamelled ceramic, compressed aluminum sheets prepared with imprint, silkscreen and varnish, fixed on a steel tubular base. film black and white, with sound. set of 100 xerographic prints on paper

45.28 x 472.44 x 303.15 inches approx. installed.


installation view at the 57th venice biennale, 2019
 

image

life in the folds (detail), 2017

alphabet of ocarinas placed over tables, forming a poem. high temperature enamelled ceramic, compressed aluminum sheets prepared with imprint, silkscreen and varnish, fixed on a steel tubular base. film black and white, with sound. set of 100 xerographic prints on paper

115 x 900 x 500 cm. (45.28 x 472.44 x 303.15 in.) approx. installed.


installation view at the 57th venice biennale, 2019

image

partituras para ocarinas, 3 & 12, 2016

xerographic print on paper

11.02 x 8.46 inches each

image

the cursed village (from the installation life in the folds), 2017

film black and white, with sound

13 minutes

image

learn to fuck yourself, 2017-2018

set of 72. gouache on paper

70.87 x 50.39 inches each


installation view at muac museo universitario arte cotemporáneo, mexico city, 2018

image

learn to fuck yourself (detail), 2017-2018

set of 72. gouache on paper

70.87 x 50.39 inches each

image

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 inches each


installation view at muac museo universitario arte contemporáneo, mexico city, 2018

image

axioms for action (detail), 1996-2018

set of 28. monotypes

39.76 x 27.95 inches each

image

el esplendor geométrico, 2015

installation with projection. hd video, color and sound; litography

50 minutes, "el no me mires" video. variable dimensions installation


installation view at muac museo universitario arte contemporáneo, mexico city, 2018

image

trabajo de oficina 3 & 6, 2018

coffee stain and post-it transfer on xerographic print on paper

11.18 x 8.35 inches each

image

ghost demonstration, 2019

acrylic on wooden panel

300 x 720 inches installed


installation view at the berkeley art museum and pacific film archive (bampfa), california, 2019

image

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 inches installed

carlos amorales

* 1970, Mexico City

 

In his artistic research, Carlos Amorales is interested mainly in language and the impossibility/possibility of communicating through means that are unrecognizable or not codified: sounds, gestures, and symbols. Amorales experiments at the limits between image and sign with an array of platforms: animation, video, film, drawing, installation, performance, and sound. His practice is based on different forms of translation: instruments that become characters in his films, letters that become shapes, and narratives unfold as non-verbal actions. As the basis for many of his explorations, Amorales has used Liquid Archive: a project composed of shapes, lines and nodes instead of words that he started in 1998 and continued to nourish for over ten years. In addition to Liquid Archive, he has developed other alphabets and systems that he uses to translate texts that range from museum labels to short stories. The works of Amorales exist in an alternate world of their own making, parallel to ours; constantly evolving at the same rhythm that they are produced.

 

Carlos Amorales studied in Amsterdam at the Gerrit Rietveld Academie (1996–97) and Rijksakademie van beeldende kunsten (1992–95). He has participated in artistic residencies at the Atelier Calder in Saché (2012) and MAC/VAL, Vitry-sur-Seine in France (2011), and as part of the Smithsonian Artist Research Fellowship program in Washington, D.C. (2010).

 

Some of his most important exhibitions include: Axioms for Action, MUAC- Museo Universitario de Arte Contemporáneo, Ciudad de México, México (2018); Herramientas de trabajo, MAMM-Museo de Arte Moderno de Medellín, Colombia (2017); Prelude, Bellas Artes Projects Outpost, Manila, Philippines (2017); Carlos Amorales, Turku Art Museum, Finland (2016); We Will See How Everything Reverberates, as part of The Dual Year of the United Kingdom and Mexico, Turner Contemporary, Margate (2015); The Man Who Did All Things Forbidden, Philadelphia Museum of Art, United States (2014); Germinal, Museo Tamayo, Mexico City (2013); Supprimer, modifier et préserver, MAC/VAL, Vitry-sur-seine, France (2011); Discarded Spider, Cornerhouse, Manchester, United Kingdom (2010); Working Class Today… Mañana Nuevos Ricos!, Fridericianum, Kassel, Germany (2009); Dark Mirror, Irish Museum of Modern Art, Dublin, Ireland (2008); Faces, The Moore Space, Miami, United States (2007); Carlos Amorales, Museo de Arte Latinoamericano de Buenos Aires, Argentina (2006); ¿Por qué temer al futuro?, Casa de América, Madrid and Artium, Vitoria-Gasteiz, Spain (2005); The Forest, Creative Time, as part of the screening The 59th Minute in Times Square, New York (2004); Fighting Evil (with Style), USF Contemporary Art Museum, Tampa, United States (2002).

 

His work has also been included in group exhibitions at institutions such as: Cabaret Voltaire, Zürich, Switzerland (2017); neue Gesellschaft für bildende Kunst (nGbK), Berlin (2017); an exhibition by Pacific Standard Time: LA/LA at MAK Center for Art and Architecture- Schindler House, West Hollywood, United States (2017); de Appel arts centre, Amsterdam (2016); South London Gallery (SLG) (2016); MUSAC-Museo de Arte Contemporáneo de Castilla y León, Spain (2016); Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2015); Guggenheim Museum, New York (2014); Phoenix Art Museum, United States (2013); Centre Georges Pompidou, Paris (2013); Migros Museum für Gegenwartskunst, Zürich, Switzerland (2012); Museum of Contemporary Art San Diego and Museum of Latin American Art, Long Beach, United States (2011); S.M.A.K.- Stedelijk Museum voor Actuele Kunst, Ghent, Belgium (2010); Tate Liverpool, United Kingdom (2009); Barbican Centre, London (2008); Galleria Civica di Trento, Italy (2008); MARCO- Museo de Arte Contemporánea de Vigo, Spain (2008); Mori Art Museum, Tokyo (2007); Museum of Modern Art, New York (2007); Neue Nationalgalerie, Berlin and Neues Museum Weimar, Germany (2006), among others.

 

Carlos Amorales represented Mexico at the 57th Venice Biennial with the project Life in the Folds (2017). His work has been part other biennials such as the 10th Shanghai Biennale, China (2015); 2 and 8 Berlin Biennial (2001 and 2014); Sharjah Biennal 11, United Arab Emirates (2013); The 12th and 10th Bienal de la Habana, La Havana, Cuba (2015 and 2009); 5th SeMA Biennale Mediacity Seoul, South Korea (2008); 2 nd Moscow International Biennale of Contemporary Art (2007).


Carlos Amorales lives and works in Mexico City. 
 

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