Abraham Cruzvillegas, ‘Autorretrato laissez faire plastigomerado antropocénico neoténico del capitalismo mortuorio desregulado anóxico sordo, ciego, mudo, cojo, no contemplado por el Protocolo de Kioto, 5’, 2016, The Kitchen

Courtesy of the Artist and kurimanzutto.

The title of this work (which roughly translates to “Self-portrait laissez faire neotenic anthropocentric plastigomerate of capitalism mortuary deregulated anoxic deaf, blind, mute, lame, not contemplated by the Kyoto Protocol”) recalls Cruzvillegas’s Blind Self Portrait series. There, large-scale installations of pages from newspapers and magazines are painted a single color, erasing their content and prompting the question of how contemporary news coverage depicts and represents a nation and its citizens. In this piece, the politics section of Milenio, a popular Mexican newspaper, is partially covered with dots, streaks, and splashes of colored paint, leaving headlines about a recent attack on a school and celebrated nurse Gabriela Arroyo de Cordero still visible. Cruzvillegas has termed his ongoing work “autoconstrucción”—translated literally as “self-construction,” and named for the precarious and collaborative building practices employed by the people living in Colonia Ajusco, Cruzvillegas’s childhood neighborhood in Mexico City. With his combinations of found objects and materials, Cruzvillegas contemplates his ever-changing surroundings to question how personal and collective identities are formed amid a chaotic and fragmented contemporary age. –Courtesy of The Kitchen

Framed, framed dimensions: 14.17 x 20.28 x 1.57 inches.

Signature: Verso

Image rights: Courtesy of the Artist and The Kitchen. Photo: Omar Luis Olguín, 2016.

About Abraham Cruzvillegas

Inspired by the civic-minded and resourceful Ajusco neighborhood in Mexico City where he grew up, Abraham Cruzvillegas creates sculptures, films, and installations that demonstrate the interconnectedness of people and things. Working under the rubric of “Autoconstrucción,” Cruzvillegas employs such common materials as scarves, pieces of fruit, animal feces, and handmade crafts to create a folk art aesthetic. His AC Mobile (2008)—a vehicle made with objects including modified bicycles, a car stereo, video projector, and a tea flask—reflects the DIY nature of both Cruzvillegas’s art and the artist’s ever-shifting identity.

Mexican, b. 1968, Mexico City, Mexico, based in Mexico