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damián ortega en 7102. fantasma semiótico (s)cituasionista

museo de arte carrillo gil - mexico city
february 2 - may 13, 2018
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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

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damián ortega, cuarto de lluvia, 7102. fantasma semiótico (s)cituasionista, museo de arte carrillo gil, mexico city, 2018.

Visual language, plastic research, and certain taciturnity configure this scenario. With more than 120 examples created by 15 artists. Through him dialectics, rhetorics and myths... and by the specters flow. Some of these evoke the arrests of various nunciations of the artistic vanguards of the last century, enunciating critical elements that allude and question the harmful habitat urban, to the absurdities of the neoliberal reality, to the hyperinformation that derives in shortness, to the eventual evaporation of civility, to the proliferation of monsters with power, and even to Arte himself: agent of reasoning and certification of freedom, as well as of inevitable contradictions.


Parallel links to the dissociation that caused the phenomenon of September 19, 2017, with its phantasmagoria and of misfortune.
 

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