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Alexandre Arrechea, ‘Mapa frente al espejo (América)’, 2016, Galería La Caja Negra
Alexandre Arrechea, ‘Mapa frente al espejo (América)’, 2016, Galería La Caja Negra
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Mapa frente al espejo (América), 2016

Aquatint, dry point and spit bite
65 2/5 × 48 2/5 in
166 × 123 cm
Edition of 20
This is part of a limited edition set.
$6,500
Have a question? Visit our help center.
About the work
Medium
Print
Signature
Yes
Publisher
Galería La Caja Negra, Madrid
Alexandre Arrechea
Cuban, b. 1970
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In 2003, Alexandre Arrechea left the artist collective Los Carpinteros to pursue creating his multimedia art under his own name. His earlier works explore common themes of surveillance in contemporary society, the loss of privacy, and sources of power, though more recent works deal with contemporary social and economic issues like the stock market and migrants in Latin America. His experiential installations like The Garden of Mistrust (2003-5) and Perpetual Free Entrance (2006) in particular deal with issues of accessibility and the qualities of public and private space. His practice includes installation, painting, and the use of what he considers are objects with “elements of truth”; this last category has included found remnants of places, like debris, fragments of walls, and measuring tape.

Alexandre Arrechea, ‘Mapa frente al espejo (América)’, 2016, Galería La Caja Negra
Alexandre Arrechea, ‘Mapa frente al espejo (América)’, 2016, Galería La Caja Negra
Save
Save
View
View in room
Share
Share
Save
Save
View
View in room
Share
Share
About the work
Medium
Print
Signature
Yes
Publisher
Galería La Caja Negra, Madrid
Alexandre Arrechea
Cuban, b. 1970
Follow

In 2003, Alexandre Arrechea left the artist collective Los Carpinteros to pursue creating his multimedia art under his own name. His earlier works explore common themes of surveillance in contemporary society, the loss of privacy, and sources of power, though more recent works deal with contemporary social and economic issues like the stock market and migrants in Latin America. His experiential installations like The Garden of Mistrust (2003-5) and Perpetual Free Entrance (2006) in particular deal with issues of accessibility and the qualities of public and private space. His practice includes installation, painting, and the use of what he considers are objects with “elements of truth”; this last category has included found remnants of places, like debris, fragments of walls, and measuring tape.

Mapa frente al espejo (América), 2016

Aquatint, dry point and spit bite
65 2/5 × 48 2/5 in
166 × 123 cm
Edition of 20
This is part of a limited edition set.
$6,500
Have a question? Visit our help center.
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