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carlos amorales

carlos amorales

carlos amorales

1970, Mexico City

Carlos Amorales’s work focuses on language and the impossibility/possibility of communicating through means that are unrecognizable or not codified, including through sounds, gestures and symbols. Amorales experiments at the line between image and sign using an array of platforms such as animation, video, film, drawing, installation, performance and sound. His practice establishes different forms of translation—instruments become characters in his films, letters become shapes and narratives unfold as non-verbal actions. The foundation for many of Amorales’s explorations is the Liquid Archive, a project composed of shapes, lines and nodes instead of words, which was created by the artist in 1998 and built upon for over ten years. In addition to the Liquid Archive, Amorales continues to develop further alphabets and systems to translate texts ranging from museum labels to short stories. The work of Amorales inhabits a parallel world, one of his own making, that constantly evolves as new works are produced.

Amorales studied in Amsterdam at the Rijksakademie van Beeldende Kunsten (1996–1997) and Gerrit Rietveld Academie (1992–1995). He was artist in residence at the Atelier Calder in Saché, France (2012), Musée d’Art Contemporain du Val-de-Marne (MAC/VAL), Vitry-sur-Seine, France (2011) and part of the Smithsonian Artist Research Fellowship program in Washington, D.C. (2010).

Carlos Amorales lives and works in Mexico City. 

Selected Works

Selected Works Thumbnails
narcissus' orgy, 2019

58 woven silk fabrics mounted on wooden frames

70.87 x 47.24 in. each

narcissus' orgy, 2019

58 woven silk fabrics mounted on wooden frames

70.87 x 47.24 in. each

peep show, 2019

7 neon signs

on site installation. variable dimensions

installation view at stedelijk museum, amsterdam, 2019

peep show, 2019

7 neon signs

on site installation. variable dimensions

installation view at stedelijk museum, amsterdam, 2019

ghost demonstration, 2019

acrylic on wooden panel

300 x 720 in. installed

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

ghost demonstration, 2019

acrylic on wooden panel

300 x 720 in. 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 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

learn to fuck yourself, 2017-2018

set of 72. gouache on paper

70.87 x 50.39 in. each
installation view of axiomas para la acción, muac museo universitario arte cotemporáneo, mexico city, 2018

 

 

learn to fuck yourself, 2017-2018

set of 72. gouache on paper

70.87 x 50.39 in. each
installation view of axiomas para la acción, 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 in. each

learn to fuck yourself (detail), 2017-2018

set of 72. gouache on paper

70.87 x 50.39 in. each

black cloud, 2007-2018
on site installation. 45,000 black paper cutout moths affixed to the walls of large interior spaces

variable dimensions

installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

 

 

black cloud, 2007-2018
on site installation. 45,000 black paper cutout moths affixed to the walls of large interior spaces

variable dimensions

installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

 

 

my dear rational blonde, 1996-2018

hd video, color and sound

3:30 min

 

my dear rational blonde, 1996-2018

hd video, color and sound

3:30 min

 

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each

detail

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each

detail

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 in. approx. installed
installation view at the 57th venice biennale, 2019

 

 

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 in. approx. installed
installation view at the 57th venice biennale, 2019

 

 

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 in. approx. installed

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 in. approx. installed

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 in. approx. installed.

installation view at the 57th venice biennale, 2019

detail

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 in. approx. installed.

installation view at the 57th venice biennale, 2019

detail

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

film black and white, with sound

13 min

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

film black and white, with sound

13 min

partituras para ocarinas, 3 & 12, 2016

xerographic print on paper

11.02 x 8.46 in. each

partituras para ocarinas, 3 & 12, 2016

xerographic print on paper

11.02 x 8.46 in. each

el esplendor geométrico, 2015

installation with projection of el no me mires, hd video, color and sound; litography

variable dimensiones; 50 min
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

el esplendor geométrico, 2015

installation with projection of el no me mires, hd video, color and sound; litography

variable dimensiones; 50 min
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

we'll see how all reverberates, 2012

steel, brass and epoxy paint

mobil a: 94.49 x 114.17 in. h x diam.

mobil b: 100.39 x 102.36 in. h x diam.

mobil c: 104.33 x 94.49 in. h x diam.

we'll see how all reverberates, 2012

steel, brass and epoxy paint

mobil a: 94.49 x 114.17 in. h x diam.

mobil b: 100.39 x 102.36 in. h x diam.

mobil c: 104.33 x 94.49 in. h x diam.

dark mirror, 2008

resin and automotive paint

157.48 x 96.46 x 15.75 inches

dark mirror, 2008

resin and automotive paint

157.48 x 96.46 x 15.75 inches

amorales vs amorales (my way, tijuana), 2000

video, color with sound

33 min 30 sec

amorales vs amorales (my way, tijuana), 2000

video, color with sound

33 min 30 sec

interim, 1997

one-channel video projection on monitor, color

3 min 43 sec

interim, 1997

one-channel video projection on monitor, color

3 min 43 sec

narcissus' orgy, 2019

58 woven silk fabrics mounted on wooden frames

70.87 x 47.24 in. each

narcissus' orgy, 2019

58 woven silk fabrics mounted on wooden frames

70.87 x 47.24 in. each

peep show, 2019

7 neon signs

on site installation. variable dimensions

installation view at stedelijk museum, amsterdam, 2019

peep show, 2019

7 neon signs

on site installation. variable dimensions

installation view at stedelijk museum, amsterdam, 2019

ghost demonstration, 2019

acrylic on wooden panel

300 x 720 in. installed

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

ghost demonstration, 2019

acrylic on wooden panel

300 x 720 in. 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 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

ghost demonstration (detail), 2019

acrylic on wooden panel

300 x 720 in. installed

learn to fuck yourself, 2017-2018

set of 72. gouache on paper

70.87 x 50.39 in. each
installation view of axiomas para la acción, muac museo universitario arte cotemporáneo, mexico city, 2018

 

 

learn to fuck yourself, 2017-2018

set of 72. gouache on paper

70.87 x 50.39 in. each
installation view of axiomas para la acción, 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 in. each

learn to fuck yourself (detail), 2017-2018

set of 72. gouache on paper

70.87 x 50.39 in. each

black cloud, 2007-2018
on site installation. 45,000 black paper cutout moths affixed to the walls of large interior spaces

variable dimensions

installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

 

 

black cloud, 2007-2018
on site installation. 45,000 black paper cutout moths affixed to the walls of large interior spaces

variable dimensions

installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

 

 

my dear rational blonde, 1996-2018

hd video, color and sound

3:30 min

 

my dear rational blonde, 1996-2018

hd video, color and sound

3:30 min

 

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each

detail

axioms for action, 1996-2018

set of 28. monotypes

39.76 x 27.95 in. each

detail

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 in. approx. installed
installation view at the 57th venice biennale, 2019

 

 

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 in. approx. installed
installation view at the 57th venice biennale, 2019

 

 

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 in. approx. installed

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 in. approx. installed

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 in. approx. installed.

installation view at the 57th venice biennale, 2019

detail

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 in. approx. installed.

installation view at the 57th venice biennale, 2019

detail

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

film black and white, with sound

13 min

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

film black and white, with sound

13 min

partituras para ocarinas, 3 & 12, 2016

xerographic print on paper

11.02 x 8.46 in. each

partituras para ocarinas, 3 & 12, 2016

xerographic print on paper

11.02 x 8.46 in. each

el esplendor geométrico, 2015

installation with projection of el no me mires, hd video, color and sound; litography

variable dimensiones; 50 min
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

el esplendor geométrico, 2015

installation with projection of el no me mires, hd video, color and sound; litography

variable dimensiones; 50 min
installation view of axiomas para la acción, muac museo universitario arte contemporáneo, mexico city, 2018

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

the tongue of the dead, 2012

photo roman. silkscreen on paper

14.76 x 22.44 inches

we'll see how all reverberates, 2012

steel, brass and epoxy paint

mobil a: 94.49 x 114.17 in. h x diam.

mobil b: 100.39 x 102.36 in. h x diam.

mobil c: 104.33 x 94.49 in. h x diam.

we'll see how all reverberates, 2012

steel, brass and epoxy paint

mobil a: 94.49 x 114.17 in. h x diam.

mobil b: 100.39 x 102.36 in. h x diam.

mobil c: 104.33 x 94.49 in. h x diam.

dark mirror, 2008

resin and automotive paint

157.48 x 96.46 x 15.75 inches

dark mirror, 2008

resin and automotive paint

157.48 x 96.46 x 15.75 inches

amorales vs amorales (my way, tijuana), 2000

video, color with sound

33 min 30 sec

amorales vs amorales (my way, tijuana), 2000

video, color with sound

33 min 30 sec

interim, 1997

one-channel video projection on monitor, color

3 min 43 sec

interim, 1997

one-channel video projection on monitor, color

3 min 43 sec

carlos amorales - Artists - Kurimanzutto

notable solo exhibitions

Some of his most important exhibitions include: Rapsodias, Museo para la Identidad Nacional, Tegucigalpa, Honduras (2025); Carlos Amorales: Battle, Kula Gallery, Split, Croatia (2025); Carlos Amorales: Black Cloud, Phoenix Art Museum, Arizona (2025); La Retórica de la Máscara, Galeria Macchina, Escuela de Arte UC, Pontífica Universidad Católica de Chile (2024); Words of Mouth and Hands, kurimanzutto, New York (2023); La serpiente de los días, Museo Kaluz, Mexico City (2022); The Factory, Stedelijk Museum Amsterdam (2019), Axiomas para la acción, organized by Museo Universitario de Arte Contemporáneo (MUAC-UNAM), Mexico City (2017); traveled to Museo de Arte Contemporáneo de Monterrey (MARCO), Mexico (2018); Herramientas de trabajo, organized by Museo de Arte Moderno de Medellín (MAMM), Colombia (2017); traveled to Museo La Tertulia, Cali, Colombia (2018); Prelude, Bellas Artes Projects, Manila, Philippines (2017); We’ll see how all reverberates, National Gallery of Victoria (NGV), Melbourne, Australia (2015); El esplendor geométrico, kurimanzutto, Mexico City (2015); The Man Who Did All Things Forbidden, Cine Nilo, Santiago de Chile (2014) and Philadelphia Museum of Art, Pennsylvania (2014); Germinal, Museo Tamayo, Mexico City (2013); Supprimer, modifier et préserver, Musée d’Art Contemporain du Val-de-Marne (MAC/VAL), Vitry-sur-Seine, France (2011); Vivir por fuera de la casa de uno, Museo Amparo, Puebla, Mexico (2010) and Museo de Arte Contemporáneo de Monterrey (MARCO), Mexico (2010); Working Class Today… Mañana Nuevos Ricos!, Kunsthalle Fridericianum, Kassel, Germany (2009); Dark Mirror, Irish Museum of Modern Art, Dublin (2008) and Daros Museum, Zurich, Switzerland (2007); Faces, The Moore Space, Miami (2007); Contemporáneo 18: Carlos Amorales, Museo de Arte Latinoamericano de Buenos Aires (MALBA) (2006); ¿Por qué temer al futuro?, organized by Casa de América, Madrid (2005); traveled to Artium, Vitoria-Gasteiz (2005); and Museo Universitario de Ciencias y Arte (MUCA) Mexico City (2006) The Forest, as part of The 59th Minute, Creative Time, New York (2004); Carlos Amorales: Fighting Evil (with Style), USF Contemporary Art Museum, Tampa, Florida (2002), among others.

selected group exhibitions and biennials

His work has also been included in group exhibitions at institutions such as: El horizonte siempre se aleja, Museo Tamayo, Mexico City (2025); An Unlikely Inventory: Dialogues with Surrealism, kurimanzutto, Mexico City (2024); My Last Will, Casino Luxembourg – Forum d’art contemporain (2024); En el interior del cielo, Collegium, Instituto de México en España, Madrid (2024); Animal Kingdom, Nordiska Akvarellmuseet, Skärhamn, Sweeden (2023); Alegorías del mal gobierno Parte 3, Museo de Arte Carrillo Gil, Mexico City (2022); TODOS JUNTOS (All Together), kurimanzutto, New York (2022); Cien del MUAC, Museo Universitario Arte Contemporáneo (MUAC-UNAM), Mexico City (2021); El círculo que faltaba, Museo Amparo, Puebla, Mexico (2020); and Museo de Arte Moderno de Medellín (MAMM), Colombia (2019); Learn to Fuck Yourself, as part of Fun & Fury!, Cabaret Voltaire, Zurich, Switzerland (2017); Dreams&Dramas, Law as Literature, Neue Gesellschaft für bildende Kunst (nGbK), Berlin (2017); How to read El Pato Pascual: Disney’s Latin America and Latin America’s Disney, Schindler House, MAK Center for Art and Architecture, Los Angeles, CA (2017); Unresolved, de Appel, Amsterdam (2016); La la la Human Steps, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands (2015); Under the Same Sun: Art from Latin America Today, Solomon R. Guggenheim Museum, New York (2014); Un Nouveau festival / BOOK MACHINE, Centre Pompidou, Paris (2013); Tour d’Horizon – Werke aus der Sammlung Migros Museum für Gegenwartskunst, Migros Museum für Gegenwartskunst, Zurich, Switzerland (2012); Proyecto Juárez, Matadero Madrid (2011); Hareng Saur: Ensor and Contemporary Art, Stedelijk Museum voor Actuele Kunst (S.M.A.K.), Ghent, Belgium (2010); DLA Piper Series: This is Sculpture, Tate Liverpool, United Kingdom (2009); Martian Museum of Terrestrial Art, Barbican Centre, London (2008); The Rocky Mountain People Show, Galleria Civica di Arte Contemporanea, Trento, Italy (2008); PAIXÓNS PRIVADAS, VISIÓNS PÚBLICAS, Museo de Arte Contemporánea de Vigo (MARCO), Spain (2008); All About Laughter: Humor in Contemporary Art, Mori Art Museum, Tokyo (2007); New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions, The Museum of Modern Art, New York (2007); Los Ángeles-México. Complejidades y heterogeneidad, Museo Jumex, Mexico City (2006), among others.

Amorales has participated in many international biennials, including 10th biennal nationale de sculpture contemporaine, Québec, Canada (2022); Oku-Noko Triennale 2020+, Japan (2021); Biennale Internationale d'Art Mural, Lille, France (2019); Mexican Pavillion at the 57th Venice Biennale (2017); 10th Shanghai Biennale, China (2014); 8 and 2 Berlin Biennale (2014 and 2001); Sharjah Biennial 11, United Arab Emirates (2013); 12th and 10th Bienal de la Habana, Cuba (2015 and 2009); 5th Seoul International Media Art  Biennale (2008); 2 nd Moscow International Biennale of Contemporary Art (2007).

Videos