Ruben Gutiérrez. - Ruben Gutierrez

Ruben
Gutiérrez.
New and ongoing projects.
bio
Since 1993 has shown his works and curatorial projects in Mexico, USA,
Spain, Cuba, Argentina, Ecuador, Perú, Puerto Rico, The Netherlands,
France, Czech Republic, China, Japan, India and Iran.
He represented Mexico at 7th Havana Biennal, Cuba 2001, First Buenos
Aires Biennal, Argentina, 2001, IX Bienal Internacional de Cuenca, Ecuador, 2007 and Prague Biennale 4, 2009, Prague, Czech Republic.
His work has been credited to recognitions as First Prize in Painting,
1ª Bienal Regional de la Plástica Joven (Monterrey, Mexico, 1994) First
Prize on 2ª Bienal Regional de la Plástica Joven (Monterrey, Mexico,
1996) Acquisition Prize of XXI Encuentro Nacional de Arte Joven, (México, 2001) and Acquisition Prize BBVA-Bancomer, VI Bienal MonterreyTamayo, (Museo Tamayo Arte Contemporáneo, Mexico, 2008)
Has participated in artist in residence programs in: Fundación Ludwig
(Havana, Cuba, 2001), International Studio and Curatorial Program,
(NYC, USA, 2003) Art Omi (Omi, NY, USA, 2004), Art dans l’ ville (Saint
contexts (Sierre, Swiss, 2006), Cite Internationale des Arts (Paris,
France, 2007), Soma, (Mexico city, 2010) Cero Inspiración (Quito, Ecuador, 2011) and The Bag Factory, (Johannesburg, Southafrica, 2011).
He is part of Sistema Nacional de Creadores de Arte, CONACULTA, FONCA
since 2009.
Was a fellowship holder of Fondo Nacional para la Cultura y las Artes
(Mexico) in several programs during the years 1998-99, 2000-01 y 200506.
In 2006 he obtained the grant for emerging artists of CIFO Cisneros
Fontanals Art Foundation, Miami, USA.
As curator he has done projects for: Bronx River Art Center, (New
erre, Swiss), VAE10 Festival Internacional de Video /Arte/Electrónica,
(Lima, Peru), Jawaharlal Nehru University (New Delhi, India) MUCA ROMA
(Mexico city), Centro de las Artes (Monterrey, Mexico) THE END biennial
(52, OMR Gallery, Mexico), between others.
whose mission is to promote the knowledge and appreciation of contemporary art through RESEARCH, PRODUCTION, and EXHIBITION of intertextual
objects, an ongoing project based in Monterrey, Mexico. Lives and works
between Monterrey, Mexico and Utopia, Texas.
statement
Statement
My work is a representation of a central philosophical concept: absur-
take form in drawing, installations, photography and video, utilized as
registries of appropriations, as well as in tactical curatorial exercises – or micro-fascisms – fashioned as mobile distribution platforms
My intention is to operate as a human being who uses his environment to
survive, executing tactics in which I investigates the resources that
dustry of the distraction, establishing symbolic moments of resistance
in the territory of the spectacle.
The results refer to the solitude of the human being, evilness, social
unrest, the distortion of history and cynicism.
critical text
Texts
¿Seguimos en el juego?
por | by Paola Santoscoy
Partamos de esta pregunta. Y digamos también, incluso antes de revelar
de qué juego se trata y cómo éste opera, que lo importante no es la
respuesta sino aquello que genera la pregunta. Lo importante aquí es la
duda; el momento entre la seriedad y el desenfado, entre la realidad y
rez: Banality by repetition by repetition, (they live: the reality of
knowledge) (2009). Una de las más complejas en su repertorio, esta obra
contemporáneo, e incluso de la situación socioeconómica y política actual. El resultado es un video que, más que una sucesión de referencias,
presenta un verdadero cruce entre éstas.
Uno de los temas recurrentes en la obra de Gutiérrez, y también una de
ción. En el caso de Banality by repetition… , la escena alrededor de
la que gira el video –la sorpresiva aniquilación del artista– tiene un
parentesco innegable con la película eXistenZ (1999) dirigida por David
Cronenberg. eXistenZ es el nombre de un juego de realidad virtual sobre
el que trata la película de Cronenberg, y que muy al estilo de este
cineasta canadiense está lleno de violencia, misterio, sensualidad y
gore: los participantes se conectan al juego de manera colectiva medi-
híbrido entre un órgano humano de apariencia grotesca y un joystick.
La trama de la película se desarrolla alrededor de las aventuras de dos
personajes, Allegra ?quien supuestamente es “la mejor diseñadora de
continuamente, Cronenberg logra de manera simple y elegante generar la
En Banality by repetition…, Gutiérrez adapta la situación para ser
recen ser sus admiradores, se acercan al artista para confrontarlo:
¿No crees que el mejor video artista del mundo debería ser castigado
por deformar la realidad? A esta pregunta le siguen otras líneas incriminatorias y la conversación pronto termina con el asesinato de
Nourish-Gutiérrez: ¡Muerte al demonio! ¡Muerte al arte! ¡Muerte a lo
un video musical. Y eso no es todo, el sitio en el que tiene lugar el
asesinato es un museo (el mismo en el cual la obra se presenta), de
tal forma que como espectador, uno se reconoce ?¿dentro del juego??
como parte del sistema de legitimación al que Gutiérrez alude de forma
escena actuada, ¿cierto?
El personaje asesinado claramente representa el mal, un demonio que
hay que erradicar. Sin embargo, estas consignas trasladadas al terreno del arte se convierten en una declaración irreverente de frente
la institución. Banality by repetition… se desarrolla alrededor de la
del Diablo (1911) de Ambrose Bierce, y la de banalidad? introducen un
tono de rebeldía e incredulidad que apunta hacia una misma dirección:
el cinismo. Desde ahí opera la obra de Gutiérrez. ¿Qué quiero decir con
esto? Que se trata de alguien que ha incorporado la duda constante a
su estar en el mundo, y como consecuencia a su proceso artístico. Los
gestos provocativos aparentemente inofensivos de sus obras son producto de un profundo y genuino cuestionamiento sobre aquello que conforma
su realidad y su condición como artista. Para el cínico no existe una
manera absolutista de ver el mundo, así como tampoco existen valores
absolutos y estables. De ahí lo esquizoide de su obra, pues al mismo
tiempo que promulga algo, acto seguido se mofa de ello, minando cualquier posibilidad de una lectura unívoca.
Uno de los estudios más interesantes sobre el sentido contemporáneo
de lo cínico es el desarrollado desde el terreno de la crítica culla Razón Cínica (1988). Sloterdijk explica el cinismo como un estado
de conciencia producto del pensamiento ilustrado, el epicentro de la
destrucción de todos los ideales, absolutos o verdades en Occidente,
ya sea ontológicos o morales. Ser cínico es entonces ser nihilista, y
al mismo tiempo saberse parte de un sistema cuya existencia o valores
uno mismo ya no puede ver como absolutos. Sin duda este estado tiene
algo de melancólico pues, dice Sloterdijk, “los cínicos no son tontos
y más de una vez se dan cuenta, total y absolutamente, de la nada a
Sloterdijk recupera el sentido griego del cinismo para hablar de un
estado de conciencia que mezcla ironía y sarcasmo con una actitud de
más constructivo. En sus obras Gutiérrez, se inclina más hacia este
lado pues no repara en mostrar su incredulidad y establece un juego
entre lo nuevo, lo viejo, lo original, la copia; robarse-apropiarse de
cosas para utilizarlas cínicamente, pero siempre con humor.
La obra In the Interstices of History, Biography, Reality and Memory
(2009) es un mural de piso a techo realizado in situ que, dividido en
cuatro grandes secciones, reúne una colección de dibujos que han sido
una constante en el trabajo de Gutiérrez, y es tal vez el proceso más
íntimo y afectivo mediante el cual se apropia de escenas provenientes
de aquello a lo que está expuesto, que consume, podríamos decir, del
mundo del entretenimiento, del arte, la moda, o los noticieros, pero
también mediante el cual le da salida a imágenes almacenadas en su memoria. Cada dibujo es una escena, una situación posible, un momento que
remite a una narrativa, pero que mediante el trazo del artista ha cobrado un carácter independiente de esa fuente original. En los dibujos,
se yuxtaponen personajes y escenas de películas, series y programas
televisivos, etc. con textos provenientes del arte conceptual, la teocomparten un mismo espacio que resulta en un cruce de cables intencional. El mural es también de alguna manera el terreno en donde todos los
incongruente, y a la vez seductor. La referencia a eXistenZ reaparece
aquí en los rostros de cuatro de sus personajes, Nourish entre ellos.
Los textos de los que Gutiérrez se apropia, y a los que como a las imágenes les ha otorgado una segunda vida al colocarlos en otro contexto,
son fragmentos de escritos de pensadores tan diversos como Michel Foucault, Guy Debord, Theodor W. Adorno, Gilles Deleuze, Félix Guattari,
Michel De Certeau, Paul Virilio y por supuesto, Peter Sloterdijk, entre
otros. Por otro lado, no es de sorprender que el lenguaje que Gutiérrez
utiliza primordialmente sea el inglés: el idioma de Hollywood.
tomarlas en serio. En este sentido, The Best Art Work in the World!
(2008) es una broma muy bien elaborada, pues utiliza de manera perspicaz los códigos y el lenguaje del mundo del arte para despojarlo
de seriedad y así posibilitar un escenario que no es el esperado. El
artista se encuentra en un paisaje desértico que funciona como alusión
a un desierto cultural en donde se enfrenta con un personaje retador
que le pide le enseñe la mejor obra de arte del mundo, o bien se comerá su alma. Hans Ulrich Obrist, el omnipresente curador suizo, es
quien en esta situación encarna al demonio en persona. Si el artista
sale bien librado de esta prueba, es porque entiende que aquéllo es un
juego de poder y de lenguaje. The Best Art Work in the World! es el
primero una serie de videos realizados en animación cuadro por cuadro
que duran tan sólo un par de minutos, y que hasta el momento suman
cuatro: Human Infestation Eradicated (2008), God and Death (2008), y
Dirty Dog (2009). En estos clips, el artista se enfrenta a sus demonios al estilo de Simón del Desierto, el asceta en la película de Luis
Buñuel que después de seis años en el desierto es tentado por el desu parte, se enfrenta al curador Hans Ulrich Obrist y, nada más y nada
menos, al pintor Francisco Goya, a quien vence en un mano a mano de
rap para después sobrevivir un escenario apocalíptico y emerger en el
último video como un forajido, bailando frenéticamente al ritmo de la
draw, Somethin’ you’ve never seen before, and I dare a mother fucker
to come in my face… It’s so real, it’s how I feel, it’s this society,
that makes a nigga wanna kill? mientras empuña una pistola en actitud
de nuevo arrojado al desierto.
Regresando a Banality by repetition…, el dibujo tiene aquí también un
papel preponderante y más complejo. Dentro de la categoría “posibilitodos en dibujo, que se suceden uno tras de otro, y a los que el arhada, una caída, algo de amor… un punk, algunos zombies, muerte… sexo
casual, una bella durmiente… una tentación, un clímax, una niña estransparente cuáles son algunas de sus obsesiones, y de los clichés del
entretenimiento por supuesto. El listado pareciera incluir todos los
ingredientes necesarios para una película de amor, de horror, de acción, etc. El artista lleva la apropiación de estas escenas un paso más
adelante cuando en otra sección del video, bajo la categoría “situacioson actores profesionales. De tal modo que los remakes con personajes
mexicanos están removidos al menos tres veces de su fuente original,
izo, algo que se parece a algo que hemos visto antes, que reconocemos
de alguna manera, pero que es nuevo. Y es nuevo y no, pues en realidad
es un comentario sobre lo repetitivo de la historia, sobre el entretenimiento como algo cíclico, que pareciera estar generando productos
nuevos, cuando en realidad se trata de lo mismo disfrazado de novedad.
La violencia es un elemento que está presente en muchas de las obras
distintas maneras: desde el asesinato del artista a mano armada, los
grupos de jóvenes que recorren la ciudad a manera de escuadrones elimimúsica. Los zombies, los muertos vivientes autómatas por excelencia del
cine norteamericano del periodo de la Guerra Fría encarnan un comenal país comiéndose a sí mismo; algo que puede fácilmente trasladarse al
presente. Por su parte, las imágenes de jóvenes armados encuentran una
resonancia macabra en la situación de violencia que vive el país. Sin
embargo, se trata de una espectacularización de la violencia, entendiendo espectacularizar, en palabras del artista, como un sentimiento de
rebeldía, de pronto, de una manera muy maquillada o muy fashion. Esto
resulta en algo que raya en la pura pose, en una violencia que podemos
ver sin alterarnos pues está estetizada. Y es que la violencia no sólo
está en las armas. No son casos particulares los que el artista señala,
del cínico que le es imposible tomar distancia y está involucrado hasta
el fondo; sólo desde ahí es capaz de digerir lo que produce el sistema
para lanzar de regreso algo masticado, transformándolo.
Are we still in the game?
Let’s make this query our starting point. And let’s also say, even
before revealing what game we’re talking about and how it unfolds,
that it’s not the answer what’s important, but rather what elicits the
question. What’s important here is the doubt; the instant between serez’ latest work: Banality by repetition by repetition, (they live: the
reality of knowledge) (2009). This work –among his most complex in his
repertoire– is a compilation of references from motion pictures, scilosophy, contemporary art, and even today’s socioeconomic and political state of affairs. The result is a video that more than a sequence
of references, is a veritable crossroads for them.
One of the recurring motifs in Gutiérrez’ work, and also one of the
Banality by repetition…, the scene around which the video revolves –the
artist’s surprising killing– has an undeniable kinship with the movie
eXistenZ (1999), directed by David Cronenberg. eXistenZ is the name of
the virtual reality game which is the subject of Cronenberg’s movie.
True to the Canadian director’s form, it is packed with violence, mystery, sex, and gore: players must plug themselves in collectively via a
port in the small of their backs. The game itself is a cross between a
grotesque-looking human organ and a joystick. The movie’s plot follows
the adventures of two characters, Allegra –allegedly “the greatest game
ing scenarios, Cronenberg is able to simply and elegantly generate the
illusion of a parallel reality which becomes even more convoluted by
In Banality by repetition… Gutiérrez tweaks the situation so as to be
murdered under the allegation of being “the greatest video artist in
men who appear to be fans go up to the artist to confront him: Don’t you
think that the greatest video artist in the world should be punished
for deforming reality? This question is followed by other accusatory
lines and the conversation soon ends with Gutiérrez’ assassination.
cry these youths that look like they just walked out of a music video.
That’s not all. The setting for the murder is a museum (the same where
the work is on display) so that as a spectator, you recognize yourself
–within the game? – as part of the authentication system that Gutiérrez theatrically alludes to. For at the end of the day, it’s a sham, a
play-acted scene, right?
The slain character clearly represents evil, a devil to be cast out.
Placed in an art setting, however, these slogans become an irreverent
statement before the work itself, the artist and ultimately, the institution. Banality by repetition… unfolds around the artist’s self-anniphilosophy, taken from Ambrose Bierce’s The Devil’s Dictionary (1911),
and of banality– insert a note of rebellion and incredulity that points
in the same direction: cynicism. That’s were Gutiérrez’ work is coming
from. What do I mean by that? That this is someone who has incorporated
constant doubt into his time on Earth and, consequently, into his artistic process. His works’ seemingly harmless provocative gestures are
the result of a deep, heartfelt soul-searching regarding what makes up
his reality and his condition as an artist. For the cynic, there is
no absolutist way of seeing the world, just as there are no absolute,
stable values.
Therein lies the schizoid aspect of his work: at the same time it proclaims something, it immediately turns around and scoffs at it, undermining any possibility of a univocal reading.
One of the most intriguing studies on the contemporary sense of cynicism is the one carried out from the province of cultural critique by
German philosopher Peter Sloterdijk in his book Critique of Cynical
Reason (1988). Sloterdijk explains cynicism as a state of consciousness borne from illustrated thought, while the latter is the epicenter of the destruction of all ideals, absolutes or truths –moral or
ontological– in the West. Being cynical, then, means being nihilistic
while knowing yourself part of a system whose existence or values one
can no longer view as absolute. This state undoubtedly is borderline
melancholic as, Sloterdijk says: “cynics are not dumb, and every now
Sloterdijk rescues the Greek sense of cynicism to address a state of
consciousness that blends irony and sarcasm with a celebratory and
his works, Gutiérrez leans toward this side, as he doesn’t shy away
from showing his incredulity and establishes a play between new, old,
authentic, facsimile: borrow/steal things to use them cynically, but
always tongue-in-cheek.
His work In the Interstices of History, Biography, Reality and Memory
tions, that gathers a collection of drawings. This has been a staple
in Gutiérrez’ work and is arguably the most intimate, caring process
through which he helps himself to scenes taken from what he has been
exposed to from newscasts and the entertainment, art, and fashion
worlds, and makes them his own. It is also a conduit for channeling images stored in his memory. Each drawing is a scene, a possible
situation, a moment that alludes to a narrative, but that has become
unfettered from that original source through the artist’s strokes.
Characters and scenes from movies, TV shows, sitcoms, etc. are juxtaposed with texts from conceptual art, art theory, critical theory, and
philosophy. Frivolity and gravitas share the same space, for an intentional short-circuit. In a way, the mural is also the arena where all
the drawings converge, a sort of spread out, messy, incongruous, yet
seductive storyboard. The shout-out to eXistenZ reappears here in the
faces of four of the characters, one of them the original designer. The
texts sampled by Gutiérrez, which –like the images– have been given a
new lease on life by his placing them in a different context, include
fragments from writings by thinkers as varied as Michel Foucault, Guy
Debord, Theodor W. Adorno, Gilles Deleuze, Félix Guattari, Michel De
Certeau, Paul Virilio, and –obviously– Peter Sloterdijk, to name a few.
On the other hand, it comes as no surprise that Gutiérrez’ language of
choice is English; Hollywood’s tongue.
In this sense, The Best Art Work in the World! (2008) is a full-blown
joke, as it shrewdly uses the art world’s ciphers and lingo to denude
himself in a desert landscape which references a cultural desert, where
he faces a character who challenges him to show him the best art work
in the world, or risk his soul being devoured. Hans Ulrich Obrist, the
ubiquitous Swiss curator, embodies the demon in this tableau.
The artist emerges unscathed from this trial only because he understands it is a power struggle and a word play. The Best Art Work in the
mation, a few minutes long, and numbering 4 to date: Human Infestation
Eradicated (2008), God and Death (2008), and Dirty Dog (2009). In these
clips, the artist faces his demons along the lines of Simon of the
Desert, the fanatic who leads an ascetic life in Luis Buñuel’s movie
and after six years in the desert is tempted by the devil, which appears to him in a variety of hallucinations. Gutiérrez, in turn, faces
curator Hans Ulrich Obrist and none other than painter Francisco Goya,
whom he bests in a rap face-off, only to later survive an apocalyptic
draw, Somethin’ you’ve never seen before, and I dare a mother fucker
to come in my face… It’s so real, it’s how I feel, it’s this society,
that makes a nigga wanna kill– while holding a gun in way that signals
into the desert.
Going back to Banality by repetition…, the drawings here also have a
we’re presented with a series of possible situations and characters,
all drawn, that follow one after another, and that the artist has clasa punk, some zombies, death… casual sex, a sleeping beauty… a temptahe were allowing us to transparently see which are some of his obsessions, and obviously entertainment clichés. The list would seem to include all the necessary ingredients for a romantic, horror, or action
movie. The artist pushes the envelope in making these scenes his own
he recreates the drawn scenes with the help of non-professional actors, so the remakes with Mexican characters we see here are at least
tion. This makes these scenes even more elusive, something that bears
a resemblance to something we’ve seen before, that we somehow recognize, but that is new. It’s new and it’s not, as it is really a comment
on history’s repetitiveness, on entertainment as cyclical, that might
seem to be generating new products but is actually the same-old sameold whitewashed as novelty.
Violence is an element present in many of this artist’s works, and in
the Banality by repetition… video it comes to the fore in different
guises: from the artist’s shooting death and the gangs of youths pathe presence of zombies or even in the music. Zombies, those undead
robots beyond compare of Cold War-era American cinema, embody a social
commentary on a society in which unchecked consumerism has the country cannibalizing itself; something that can easily resonate today.
On the other hand, the images of armed youths grisly echo the state
of violence sweeping the country. This, however, is about making violence spectacular, which in the artist’s words is making a feeling of
rebellion into something spectacular in a very made-up or fashionable
manner. This yields something that is borderline affectation, a violence so stylized we can watch it without getting upset. The thing is
that violence is not only in weapons. The artist is not singling out
or denouncing any case in particular, but rather an entire system in
decline. Something eminently salvageable from the cynic is that this
is someone incapable of keeping a distance and is therefore involved
to the hilt, and it is only there that he can digest what the system
produces in order to spit back something chewed, transformed.
Projects
how to survive the end of the world
don’t wait 2012 open your eyes the apocalypse is now
The only sure thing is that there is a lot of money to be made from
glass and resin sculpture)
his eyes, no warmth of his skin, no beating of his breast. His soul, as
empty and dark as the night sky. He laughs at the blade, spits at the
earth, smelling the sweet blood of the living, feasting upon the bones
of the damned. Beware, for he is the living dead. OBSCURE HINDU TEXT,
CIRCA 1000 B.C.E (zapata zombie, edition of 7. resin sculpture 37 x 14
x 15 cms )
WITH SILENCE AND DARKNESS AS OUR ONLY WITNESSES (detail)
And see that we must bear the doom of being an after world. (detail)
thats the worst goodbye i have ever heard, and you stole it from a
ARS TERMINUS ORBIS TERRARUM/THE ARTWORKS OF THE END OF THE WORLD. A
very ancient book made out of actual human skin containing 666 instructions to do the same number of artworks. The legends says that when
the last of all works is done the world will come to an end. As we all
know art is only another part of the puzzle. (artist book in progress)
Contortionist Linda R. Hager performed the infamous spider-walk scene
on The Exorcist on April 11, 1973. (installation project in progress)
bored with civilization
upcoming
Wizard of Oz. The Wicked Witch of the West appears in the sky riding
from animation. an ironic commentary about the current state of affairs in Mexico)
An intricate structure of interconnecting passages through which it is
A monumental ball of trash based on a famous video game (katamari
damacy) The game’s plot concerns a diminutive prince on a mission to
rebuild the stars, constellations, and Moon.. This is achieved by rolling a magical, highly adhesive ball called a katamari around various
locations, collecting increasingly larger objects, until the ball has
grown great enough to become a star. In this case the ball of trash is
in fact a shelter with a video game console inside. (render)
ing on wall/vinyl on wall, size variable.)
A plane transporting and displaying a mobile billboard. A
poetic reference to the fact that wikileaks 637,000 Twitter
followers are part of a federal investigation wherein all
names are under subpeona. This information was followed up
mand the lists, dates and IPs of all who received our twitter
If you tell a joke in the forest, but nobody laughs, was it a joke? A
one hour long stand-up comedy performance to be made into the wild in
total isolation: STAND ALONE COMEDY.
very well done and extremely interesting, 2010 (drawing/vinyl on wall,
size variable)
post philosophical drawings
Ongoing series of drawings, color pencil on paper (90 x 135 cms/35.5
by 53 inches each)
moving the nation to the edge of disaster, 2011
morally weightless but fashion conscious, 2011
the death of nostalgia, 2011
endemic, ubiquitous, unavoidable, 2011
nothing further can be expected, 2011
we are broken, 2011
go back to sleep, 2011
dismantling hopes
to be so human
subjectivity
labyrinths
structures where our demons can be confronted and overcome
skull
grenade
a girl with a gun in her mouth
ar-15
zombie
punk girl
Anxiety, paranoia and restlessness
nano crystalline tropane alkaloid stencils, (8.6 x 5.4 cm/3.3 x 2.1
inch each aprox.)
alarma, 2011
machete, 2011
pyramid, 2011
skull maze
nano wood bricks and sand (150 x 180 x 14 cms aprox)
skull maze, galería plataforma, guadalajara, mexico, june 2011
detail 1
detail 2
detail 3
skull maze view
skull maze view 2
Taking a walk into... The Forgotten
Forest
video still 1
video still 2
video still 3
The best art work in the world
video 2008
video still 1
video still 2
video still 3
video still 4
video still 5
video still 6
video still 7
video still 8
The everyday eternity of life
oil on canvas, 25x40 cms/9.8 by 15.7 inches
no. 1
no. 2
no. 3
Anxiety Reloaded (documentation)
Photographic prints, documentation of nano crystalline tropane alkaloid stencils (27 x 40 inches/ 70 x 100 cms each)
Lucha libre mask
Alarma!
Hummer
Machete
Pyramid
Your government
post everything drawings
A ongoing and endless series of drawings (8.5 by 11 inches / 215.9 mm
× 279.4 mm)
odd beast
the best drawing ever
oppression
post apartheid
poverty and political power
skull mazes 2
skull maze, 2012. clay bricks, (900 x 900 x 50 cms aprox.)
detail 1
detail 2
detail 3
detail 4
detail 5
skull maze
tattoos from hell
What are these strange markings on my friends skin?
anajo
me
amandititita
artemio
vero
vanessa
renee
esteban
cristina
kyzza
chacho
susana
oscar
jebus
xavier
andrew
edgar
inbal
ariadna
pamela
pamela again
martinat
claudio
benjamin
vanesa again
renato
susana again
loren
joaquin
barni
erick
albert
ixel
mariana
amanda 2
mayte
diana
merche
quique
andres
maider
josechu
leti
gonte
isma
rasda
roi
charlie
fer
andrea
lozano
tattoo book
i need skin to make this tattoos!!
ya seeee lol
oh yeah its happening
strategic conversation
pegasus
lol again
post colonialist tattoo
modernity
indeed
sinking
sweet
sad
Destroying the remnants of a culture
Videos made with my iphone
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