autoconstrucción is a live event with four actors and five musicians presented to the public in the space of galería kurimanzutto. A set was designed and constructed for the project and will remain on display along with other objects—all of these artworks in and of themselves—used during each show.
autoconstrucción sets up a dialogue between theater, music and visual art. Theater director Antonio Castro, sculptor Abraham Cruzvillegas, and composer Antonio Fernández Ros conceived this project as a collaborative exercise including actors and musicians; its main point of reference is do-it-yourself construction and its economic, social, political and historical setting.
The raw materials of this piece are do-it-yourself construction, squatting and the social changes it has brought about, and the crisis of modernity in 1960's Mexico. Probable characters linked to these processes are homemakers, students, blue-collar workers, politicians and outcasts who metamorphose before our eyes, building structures that remain forever unfinished.
The idea is to set up a self-constructive dynamic based on improvisation, transformation and instability: Characteristic elements of do-it-yourself construction. Created on the basis of specific needs emerging from an exchange of ideas and experiences, this project features open-ended strategies of creation and interpretation.
autoconstrucción is the sum of many parts: Movement on stage, music, lighting—designed by Mónica Raya—and their interaction with objects and pieces conceived by artists who use various media in different contexts (Eduardo Abaroa, Allora & Calzadilla, Luz María Bedoya, Roderick Buchanan, Alessandro Ceresoli, Minerva Cuevas, Kate Davis, Dr. Lakra, Daniel Guzmán, Jonathan Hernández, Anna Jermolaewa, Hassan Khan, Gabriel Kuri, Michael Marriott, Jimena Mendoza, Roman Ondák, Damián Ortega and Frances Priest).
Following a series of projects dealing with do-it-yourself construction (exhibitions, books, a music album, a film, documentary records, and an account told by his own parents) presented in New York, Glasgow, London, Paris, Chicago, Cali, Havana and San Francisco, Abraham Cruzvillegas continues to examine the topic based on experiences at his family’s home in the Ajusco neighborhood, built on the lava fields of Coyoacán in the south end of Mexico City. He undertakes an exploration of the energy and processes of his neighborhood, its streets, its houses, their materials, their inhabitants.
autoconstrucción is also a outgrowth of Antonio Castro’s interests in finding new ways to represent the reality he explored in works such as Yamaha 300, El capote and 1822. in addition to this, Antonio Fernández Ros’s music creates both stable and unstable small-scale structures that are constantly interrupted in their attempt at acquiring an identity.
As a stage project, autoconstrucción conserves the sense of community that has been a characteristic element of Cruzvillegas’s practice; its hybrid, contradictory character allows the artist to become aware of and assume his identity while exploring the human factor from an emotional, sexual and political point of view.