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Biography

eduardo_abaroa_celosia_madera_2012

eduardo abaroa

1968, Mexico City

Eduardo Abaroa examines aspects of impermanence, history and the socio-political fabric of society through his artistic practice. 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, tarp 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 completed his BFA at the Escuela Nacional de Artes Plásticas (UNAM) in 1992 and MFA from California Institute of the Arts (CalArts) in 2001. In 1993, the artist was a founding member of the artist-run space Temístocles 44 in Mexico City. He was artist in residence at FLORA ars+natura in Bogota (2014) and Corcoran Gallery in Washington (2012). In 2011 he was director of the IX International Symposium on Contemporary Art Theory (SITAC) in Mexico City. Abaroa has contributed exhibition catalog texts for many notable artists in Mexico, 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.

Eduardo Abaroa lives and works in Mexico City.

Selected Works

Selected Works Thumbnails

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 in.

 

 

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 in.

 

 

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

steel, plastic canvas, rope

196.46 x 83.46 x 83.46 in.

 

 

the gift exchange (la catedral del gol), 2011

ink jet print on cotton paper

12.6 x 16.9 in.

 

 

the gift exchange (café de chinos), 2011

ink jet print on cotton paper

16.9 x 25.6 in.

 

 

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 in.

 

 

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 in.

 

 

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 in.

 

 

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 in.

 

 

aspirin pyramid, 1996

7,000 aspirins, hot melt adhesive and wire

7.09 x 13.78 x 13.78 in.

 

 

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 in.

 

 

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, ink on paper

8.6 x 11.8 in.

 

 

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 in. 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 in.

 

 

still from explosives (monolito de coatlinchan), 2012

digital video

10 min

 

 

still from explosives (monolito de coatlinchan), 2012

digital video

10 min

 

 

archaeological insertion 435, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 in. framed

 

 

archaeological insertion 419, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 in. framed

 

 

archaeological insertion 254, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 in. framed

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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 in.

 

 

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 in. installed

 

 

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 in. installed

 

 

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 in. installed

 

 

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 in.

 

 

portable broken obelisk for outdoor markets, 1991-1993

steel, plastic canvas, rope

96.46 x 83.46 x 83.46 in.

 

 

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

steel, plastic canvas, rope

196.46 x 83.46 x 83.46 in.

 

 

the gift exchange (la catedral del gol), 2011

ink jet print on cotton paper

12.6 x 16.9 in.

 

 

the gift exchange (café de chinos), 2011

ink jet print on cotton paper

16.9 x 25.6 in.

 

 

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 in.

 

 

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 in.

 

 

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 in.

 

 

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 in.

 

 

aspirin pyramid, 1996

7,000 aspirins, hot melt adhesive and wire

7.09 x 13.78 x 13.78 in.

 

 

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 in.

 

 

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, ink on paper

8.6 x 11.8 in.

 

 

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 in. 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 in.

 

 

still from explosives (monolito de coatlinchan), 2012

digital video

10 min

 

 

still from explosives (monolito de coatlinchan), 2012

digital video

10 min

 

 

archaeological insertion 435, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 in. framed

 

 

archaeological insertion 419, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 in. framed

 

 

archaeological insertion 254, 2012

digital print and cloakroom token

23.78 x 36.77 x 2.17 in. framed

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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

inkjet print on cotton paper

13.12 x 19.69 in.

 

 

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 in.

 

 

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 in. installed

 

 

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 in. installed

 

 

lost wax, 2015

set of 3. 18k gold bee on wooden base

7.09 x 9.45 x 7.09 in. installed

 

 

notable solo exhibitions

notable solo exhibitions

Selected recent 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).

selected group exhibitions and biennials

Abaroa has participated in numerous 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),  and many others.

His work has also been curated 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).

Video