Frase [Phrase]. 2011.
Text printed on an 11 x 2 m canvas hung in a public place.
The phrase is a fragment from “Southern Wind”, the 7th poem from the Mythistorhyme cycle (1935) by Greek poet Yorgos Seferis. Taking it out of its lyrical context in order to give it a political and historical reading, this phrase works as a leitmotiv of power’s ambition to erase the record of its acts.
Una tormenta que lo perturbe todo [A storm that disturbs everything], 2019
Text printed on canvas. 2 x 8 m
Paco Urondo Cultural Center, Buenos Aires, Argentina; Casa de la Moneda [National Mint], Potosí, Bolivia.
The text comes from the Maurice Blanchot pamphlet “Terrorism as a Public Health Method”, published in 1936.
Centro Cultural Paco Urondo, Buenos Aires
Casa de la Moneda, Potosí, Bolivia
Tear Down the Fences, 2020
Installation. Museo de la Cancillería, Mexico City.
Plywood and wood recovered from construction sites, iron, text.
Approx. 2.50 x 5 x 0.40 m
The text is the title of the song by Daniel Viglietti that in his time (1960s) called for agrarian reform and against private property, but that today can be read as a slogan against borders.
Palabra [Word], 2019
Installation in a building construction site, Mexico City.
Cut-off letters on plywood panels
“Derrumbe” translates as “Collapse”, alluding to the always present risk of destruction in a seismic zone.
Derrumbe [Collapse], 2019
Installation made out of piled artisanal bricks.
Galería Metropolitana, Santiago, Chile.
Reflection on the possibility of collapse not only of the buildings constructed in seismic zones but also of the economic system which contains them.
Cubo inclinado [Inclined Cube], 2019
Intervention in a building construction site.
Wood and iron knots, 2.60 x .260 x 2.60 m
Sculpture made in situ, using materials from the concrete walls formwork. Once the intervention finished (after two days) the sculpture was dismantled so its materials would be used again in the following steps of the building construction.
Valla [Fence]. 2007
Welded steel sculpture. 350 x 540 x 165 cm.
Three fence modules, similar to those used by anti-riot police to stop demonstrators. These modules included the map of the Mexican state of Oaxaca in their structure, addressing the political repression prevailing in the area.
Círculos concéntricos.[Concentric circles]. 2014
Performance. Four chop-saws throw sparks against the artist while he draws circles on a steel plate, as a ritual of defense.
II Venice International Performance Art Week.
Un kilómetro [One Kilometer]. 2004
Performance at the Modern Art Museum, Mexico City.
Two wheel-loaders operated by a single driver that push each other alternately in some sort of border conflict or territorial competition. Every time each machine was pushed back about 35 m until they completed a distance of 1000 m.
Traigamos la catástrofe [Let’s Bring the Catastrophe]. 2018
0.40 x 15 x 5 m. Installation at OSDE Foundation, Buenos Aires.
Corrugated steel letters, wooden cotainer, 1200 pipe pieces cut in two different sizes (as parts to build 600 improvised shotguns).
