Abraham Cruzvillegas, Born: 1968, Mexico

Abraham Cruzvillegas, Born: 1968, Mexico

The contemporary art world is energetic and booming as never since. It is a 21st-century marvel a global business in its own growth. Mexican sculptor Abraham Cruzvillegas is one of the important conceptual artists earned his name in the 1990s. Operating with found objects and building sculptures by inventing with unique materials. 

Abraham has chosen on one of the most significant challenges yet to load one of the most comprehensive and most celebrated contemporary art places in the business, formerly a power station Tate Modern has been defined as the worldly cathedral bringing more than 70 million visitants since it originated in the year 2000. Its heart is the turbine hall a huge space that earlier housed the generators effective for powering London.  Constructed from the soil and water, light and scaffolding, Abraham Cruzvillegas gigantic sculpture titled ”Empty lot ” stretched the turbine hall for six months.  

”Empty lot ”, Hyundai Commission 2015

Abraham says that he desired to make something that could sum everything I did before, sort of combination of every information and every individual work I executed before. As an artist, he does not work in a calculated way that is one of the subjects very exciting about him. He does not have an interpretation for a show or for a piece, and then make it appear. He works extremely naturally. He identifies objects, matter and people and collaboration is very necessary so the course of the planning of the work converts characters of the story of the activity itself. The work was about joining part as he was capable to join them collectively as he had not authentic art education or special education, he always does things as he can and this is the element of not knowing grows into the knowing. 

The Artist who began doing residencies all across the globe, Abraham explains himself as entering at each unique situation with bare hands,  inventing as much as attainable with his surroundings. In 2008 he started on a six-month visit on Glasgow’s center of contemporary art. Abraham tells it was in the center of nowhere in the hills of Scotland with the stunning panoramas and the bars. So I began gathering several distinct kinds of matters. One essential work produced during this residency was a portion of his group blind self-portraits. 

Blind Self Portraits, Abraham Cruzvilleges

It was a group of work that he executed with all the papers all printed material from daily life. From his residency in Scotland, he kept train records along with the notes from friends, letters, messages, and everything that defines my normal life and then he painted them on the back. He states by painting them on the back it slaughtered me, it was my character but nobody can recognize so it was further concerning,  kind of forming a feel for collusion with a possible visitant or the viewers of the exhibition. This is how they had to consider me that it holds my life but they can not see it. So that is why I named them blind self-portraits. 

Relationships, playfulness, and sense of negotiation with other people are critical to the work but so too is the geographical location and everything it says about that local economy and its society and its people and ways of living and working. What is special about his work that he was at an international level but at the same time he retains his identity his history, his own history. 

Abraham Cruzvillegas: The Autoconstrucción Suites

Abraham was born in Mexico in 1968- Grew up in the southern part of Mexico at the time of social and political upheaval. When a large number of people including his parents migrated from provincial areas of the countryside to discover work with no foundation to assist them when they entered. People just put up houses themselves securing home and creating with whatever materials they could get. He was born and raised up in the area called Cusco and this community was basically a range of volcanic mineral that was not supposed to be occupied by people. 

People used to construct their own houses, their own apartments according to any materials they happen to find around them and this was very very typical of the Mexican way of being independent, being unconventional, being very much power of your own destiny. Not expecting the government to help you or assist you. So it shifted a very elitist sized town. Abraham says we have to fight against the degradation of the government and the corruption of the officials. It took us some time to build the houses, something you can say a society. 

This way of building in Mexico is known as auto-construction which translates as self-constructing. Abraham says the word auto construction is a term they use in Mexico for describing the houses constructed by the people who inhabit them. So that is the case of my parent’s house. It was not really clarified the way they made houses, hiring an architect with a planned budget or design but it was more chaotic and organic of course, so I see that house as a mirror in a person in a way that it is not just representation of someone but the construction of a synchronous tense that comes along very difficult economic circumstances, not in a sad way or not in a heroic way but I would say that very optimistic way. 

He understood the way of his art-making was very comparable to the way of constructing buildings where he lived and he allocated the term outer construction for the series of sculptures that he is been making since around 2005. 

” Energy and material cannot be produced or destroyed, it can be only converted and I believe in that, it not like religion you know its science, and it is assumed to be objective, I believe nothing is real everything is idiosyncratic, as an artist, we create emptiness we rearrange things different ways and in various manners. 



Artist Talk: Abraham Cruzvillegas


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