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eduardo abaroa

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portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 inches

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 inches

portable broken obelisk for outdoor arkets (yellow version), 2015

steel, plastic canvas, rope

196.46 x 83.46 x 83.46 inches

the gift exchange (la catedral del gol), 2011

ink jet print on cotton paper

12.6 x 16.9 inches

the gift exchange (café de chinos), 2011

ink jet print on cotton paper

16.9 x 25.6 inches

the gift exchange (china-mexico free trade agreement), 2011

wire sink strainers on handcrafted flute. sculpture for performance in collaboration with yang zenzhong

11.8 x 3.9 x 3.1 inches

the gift exchange (china-mexico free trade agreement), 2011

plumbing objects and rarámuri mask. sculpture for performance in collaboration with yang zenzhong

variable dimensions

sociopathic real estate, 2004

dollhouse, clothing, world globe

variable dimensions 

sociopathic real estate, item 4, 2004

dollhouse, clothing, world globe

31.5 x 19.69 x 17.72 inches

the other world, and another, and another…, 2008

steel structure, galvanized steel chain and wire, cardboard and plastic globes, human clothing, string

39.37 x 39.37 x 39.37 inches

sanitary stonehenge (model and drawings), 2006

wooden blocks and works on paper

variable dimensions

sanitary stonehenge (installation view), 2006

portable bathroom cabins

variable dimensions

free thirst, 2007

plaster and wood

53.15 x 15.75 x 15.35 inches

aspirin pyramid, 1996

7,000 aspirins, hot melt adhesive and wire

7.09 x 13.78 x 13.78 inches

fragment for human hands, item 6, 2009

pencil sharpener manivel, strainer handle, cleaning brush handle, hair brush handle, baby cleaner bubble, bicycle handlebar, brush handle, baby spoon fragment, 2 drawer handles, tape recorder handle, electric switch, kitchen utensil, 2 sink cross handles

25.59 x 25.59 x 25.98 inches

promising past, 1999

performance. the players have to remove the paint from a metal jungle jim. they use paint remover (toxic) and a metal scrape (non-toxic)

fake gold, several kilometers (wall version), 1991-2005

plan to gather enough fake gold chain to surround the actual territory of mexico (approximately 15,000 km)

variable dimensions

 

fake gold 20.96 kilometers (coastline of the bermeja island), 2011

aluminum coated in gold

20.96 km of imitation gold jewelry chain 

suspended work (drive a genie on an inclined ramp so it falls against the museum wall), 2007

collage, pencil and ink on paper

8.6 x 11.8 inches

total destruction of the athropology museum, 2012

installation view at kurimanzutto, mexico city

expansive cement (central column), 2012

3 demolished cylinders of expansive concrete

40.55 x 13.98 inches diameter each

total destruction of the athropology museum, 2012

installation view at kurimanzutto, mexico city

lattice (wood), 2012

9 burned wooden blocks

70.87 x 106.3 x 51.18 inches

still from explosives (monolito de coatlinchan), 2012

digital video

10 minutes

still from explosives (monolito de coatlinchan), 2012

digital video

10 minutes

archaeological insertion 435, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 inches framed

archaeological insertion 419, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 inches framed

archaeological insertion 254, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 inches framed

notes for the destruction of the anthropology museum (figure), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

notes for the destruction of the anthropology museum (amber), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

notes for the destruction of the anthropology museum (future, past, greatness, human), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

notes for the destruction of the anthropology museum (lighting), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

notes for the destruction of the anthropology museum (fishing net), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

notes for the destruction of the anthropology museum (remember ayotzinapa), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

three examples of cultural reproduction, 2013

multimedia installation. hammered blocks with the texture of the tamayo museum in mexico city

variable dimensions

three examples of cultural reproduction, 2013

multimedia installation. mixtec ceramic piece from the tamayo museum in oaxaca, museum cations with assorted information

variable dimensions 

three examples of cultural reproduction, 2013

multimedia installation. keychains with the image of the mayan world museum in mérida and the logo of atlacomulco

variable dimensions

the great oxygen catastrophe, 2015

video installation

projection (sphere height): 82.6 inches

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 inches installed

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 inches installed

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 inches installed

image

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 inches

image

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 inches

image

portable broken obelisk for outdoor arkets (yellow version), 2015

steel, plastic canvas, rope

196.46 x 83.46 x 83.46 inches

image

the gift exchange (la catedral del gol), 2011

ink jet print on cotton paper

12.6 x 16.9 inches

image

the gift exchange (café de chinos), 2011

ink jet print on cotton paper

16.9 x 25.6 inches

image

the gift exchange (china-mexico free trade agreement), 2011

wire sink strainers on handcrafted flute. sculpture for performance in collaboration with yang zenzhong

11.8 x 3.9 x 3.1 inches

image

the gift exchange (china-mexico free trade agreement), 2011

plumbing objects and rarámuri mask. sculpture for performance in collaboration with yang zenzhong

variable dimensions

image

sociopathic real estate, 2004

dollhouse, clothing, world globe

variable dimensions 

image

sociopathic real estate, item 4, 2004

dollhouse, clothing, world globe

31.5 x 19.69 x 17.72 inches

image

the other world, and another, and another…, 2008

steel structure, galvanized steel chain and wire, cardboard and plastic globes, human clothing, string

39.37 x 39.37 x 39.37 inches

image

sanitary stonehenge (model and drawings), 2006

wooden blocks and works on paper

variable dimensions

image

sanitary stonehenge (installation view), 2006

portable bathroom cabins

variable dimensions

image

free thirst, 2007

plaster and wood

53.15 x 15.75 x 15.35 inches

image

aspirin pyramid, 1996

7,000 aspirins, hot melt adhesive and wire

7.09 x 13.78 x 13.78 inches

image

fragment for human hands, item 6, 2009

pencil sharpener manivel, strainer handle, cleaning brush handle, hair brush handle, baby cleaner bubble, bicycle handlebar, brush handle, baby spoon fragment, 2 drawer handles, tape recorder handle, electric switch, kitchen utensil, 2 sink cross handles

25.59 x 25.59 x 25.98 inches

image

promising past, 1999

performance. the players have to remove the paint from a metal jungle jim. they use paint remover (toxic) and a metal scrape (non-toxic)

image

fake gold, several kilometers (wall version), 1991-2005

plan to gather enough fake gold chain to surround the actual territory of mexico (approximately 15,000 km)

variable dimensions

 

image

fake gold 20.96 kilometers (coastline of the bermeja island), 2011

aluminum coated in gold

20.96 km of imitation gold jewelry chain 

image

suspended work (drive a genie on an inclined ramp so it falls against the museum wall), 2007

collage, pencil and ink on paper

8.6 x 11.8 inches

image

total destruction of the athropology museum, 2012

installation view at kurimanzutto, mexico city

image

expansive cement (central column), 2012

3 demolished cylinders of expansive concrete

40.55 x 13.98 inches diameter each

image

total destruction of the athropology museum, 2012

installation view at kurimanzutto, mexico city

image

lattice (wood), 2012

9 burned wooden blocks

70.87 x 106.3 x 51.18 inches

image

still from explosives (monolito de coatlinchan), 2012

digital video

10 minutes

image

still from explosives (monolito de coatlinchan), 2012

digital video

10 minutes

image

archaeological insertion 435, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 inches framed

image

archaeological insertion 419, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 inches framed

image

archaeological insertion 254, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 inches framed

image

notes for the destruction of the anthropology museum (figure), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

image

notes for the destruction of the anthropology museum (amber), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

image

notes for the destruction of the anthropology museum (future, past, greatness, human), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

image

notes for the destruction of the anthropology museum (lighting), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

image

notes for the destruction of the anthropology museum (fishing net), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

image

notes for the destruction of the anthropology museum (remember ayotzinapa), 2014

inkjet print on cotton paper

13.12 x 19.69 inches

image

three examples of cultural reproduction, 2013

multimedia installation. hammered blocks with the texture of the tamayo museum in mexico city

variable dimensions

image

three examples of cultural reproduction, 2013

multimedia installation. mixtec ceramic piece from the tamayo museum in oaxaca, museum cations with assorted information

variable dimensions 

image

three examples of cultural reproduction, 2013

multimedia installation. keychains with the image of the mayan world museum in mérida and the logo of atlacomulco

variable dimensions

image

the great oxygen catastrophe, 2015

video installation

projection (sphere height): 82.6 inches

image

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 inches installed

image

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 inches installed

image

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 inches installed

eduardo abaroa
* 1968, Mexico City


In his work, Eduardo Abaroa examines aspects of impermanence, history, and the socio-political fabric of society. He reimagines iconic works and powerful cultural symbols seeking to dismantle notions of monumentality and modernity. Found in the intersection of sculpture, installation, and performance, his practice has an immediacy that playfully evades the preciousness associated with the art object. He avoids traditional “fine art” connotations by working with unusual material and inexpensive everyday objects: from port-a-potties, tarps, and the rubble of demolished buildings to junk jewelry, cotton swabs, straws, and plastic bottles. Abaroa’s site-specific projects seek to undermine the authority of Mexican cultural institutions along with their official narrative and ultra-nationalistic ideology. By juxtaposing various ideological, aesthetic, and cultural traditions, the artist offers an incisive point of view, deeply critical of the economic and social structures that govern our society.


Abaroa earned his BFA from the Escuela Nacional de Artes Plásticas (UNAM) in 1992 and his MFA from California Institute of the Arts (CalArts) in 2001. In 1993, he was a founding member of the artist-run space Temístocles 44 in Mexico City. He has been an artist in residency at FLORA ars+natura in Bogota (2014) and Corcoran Gallery in Washington (2012). In 2011 he was the director of the IX International Symposium on Contemporary Art Theory (SITAC) in Mexico City. He has contributed texts for catalogs for many artists vital to the Mexican context, as well as columns and reviews for several journals and publications. He has been the recipient of many grants and awards, including: premio artes visuales Sociedad Internacional de Valores de Arte Mexicano (SIVAM) in 2006 and 2005, Sistema Nacional de Creadores from the Mexican Ministry of Culture, and Fulbright Scholarship, both in 2004.


Some of his solo exhibitions include: Tipología del estorbo, Museo Amparo, Puebla, Mexico (2017); Fotosíntesis, Casa del Lago Juan José Arreola | UNAM, Mexico City (2015); Stonhenge Sanitario, Sala de Arte Público Siqueiros, Mexico City (2006); Eduardo Abaroa, Engendros del ocio y la hipocresía (1991-1999), Instituto Cultural Cabañas, Guadalajara, Mexico (2003) and Museo de Arte Carrillo Gil, Mexico City (1999); Bitácora Artística, Curare Espacio Crítico para las Artes, Mexico City (1997).


He has participated in group exhibitions such as: Below the Underground: Renegade Art and Action in 1990s Mexico, Armory Center for the Arts, Pasadena, United States (2018); Condemned To Be Modern, Los Angeles Municipal Art Gallery (LAMAG) (2017); Lecturas de un territorio
 fracturado, Museo Amparo, Puebla, Mexico (2017); Monumentos, anti-monumentos y nueva escultura pública, MAZ - Museo de Arte de Zapopan, Mexico (2017); El orden natural de las cosas, Museo Jumex, Mexico City (2016); Kozmic Blues. Entre control / Descontrol, Complejo Cultural Universitario–BUAP, Puebla, Mexico (2016); Rights of Nature, Nottingham Contemporary, United Kingdom (2015); Strange Currencies: Art & Action in Mexico City, 1990-2000, The Galleries at Moore, Philadelphia, United States (2015); El testigo del siglo, Museo de Arte Zapopan, Mexico (2014); Hay más rutas que la nuestra, Museo Tamayo, Mexico City (2013); México Inside Out: Themes in Art Since 1990, The Modern Art Museum of Fort Worth, United States (2013); Antes de la resaca, Museo Universitario Arte Contemporáneo, MUAC, Mexico City (2011); Mexico: Expected / Unexpected - collection Isabel et Agustín Coppel, Museum of Contemporary Art San Diego, United States (2011) and La maison rouge, Paris (2008); Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles (2007); Eco, Museo Nacional Centro de Arte Reina Sofía, Madrid (2005), among many others.


His work has also been included in the following biennials: XIII Bienal FEMSA 2018, Monterrey, Mexico; Busan Biennale 2008, South Korea; 25a Bienal de São Paulo, Brazil (2002) and inSite_97, Tijuana/San Diego border (1997).


Eduardo Abaroa lives and works in Mexico City.