Abraham Cruzvillegas Livres

Abraham Cruzvillegas (b. 1968) has showcased his work in significant projects, including the Turbine Hall of Tate Modern in 2015-16, and has held solo exhibitions in the US, France, and Germany. The Kunsthaus Zürich now hosts the first exhibition in Switzerland by the Mexican artist. His sculptures and installations explore architecture as a reflection of social conditions. Growing up in Ajusco, a volcanic area south of Mexico City, Cruzvillegas witnessed the rise of makeshift, self-built homes due to a rural exodus in the 1960s. These structures, built without foundations or plans, involved the entire community in their creation. This background informs Cruzvillegas's view of sculptural form as a process of transformation, action, and solidarity, emphasizing improvisation, found materials, and collaboration. In Zurich, he will engage with the local community by transforming the exhibition space into a workshop, where new works will emerge alongside various events. Ultimately, these creations will culminate in a complete installation, reflecting the dynamic process central to Cruzvillegas's artistic vision. Exhibition: Kunsthaus Zürich, Switzerland (16.02. - 25.03.2018).

Ce récit a toutes les qualités évocatrices de l'art de Conrad qui cherche, surtout dans la description de la nature vierge et ténébreuse, non seulement à captiver l'intérêt intellectuel du lecteur, mais l'adhésion de son entière personnalité, en l'enveloppant dans un vaste filet de sensations.

Abraham Cruzvillegas’s investigates the relationship between materiality and the narrative of places with his aesthetic concept of autoconstrucción, reconstrucción and autodestrucción, for what he experiments with video, performance, personal and family archives, as well as academic research. His project Autodestrucción6: Chichimecachubo: Matzerath@S13, 2014 at Gdansk City Gallery 2 refers to the story of Oskar Matzerath, the protagonist of Günter Grass’s novel The Tin Drum, a literary narrative originating from Gdansk. Based on Mazerath’s piercing scream he linked this fiction to the real story of Mexican composer Julián Carrillo, a pioneer of microtonality.