The exhibition is conceived like a script and a list of works that each institution and curator that hosts it can execute in different ways, according to their particular interpretation of the Amorales text and its material, architectural and organizational possibilities. In this sense, each exhibition will be an interpretation of the source of Amorales’ work, as well as a compendium of his work, rejecting the organization of his career into a chronological order or other form of classification.
A conventional retrospective would be wholly contrary to the spirit of the work of the artist who styles himself “Amorales.” The fixed character of the retrospective is clearly opposed to the universe of possibilities that his fabricated identity has come to contain, and chronology is irrelevant to a conceptual map that is linked by jumps and echoes over time. As a result, a show that follows the logic of Amorales’ work must be a changing map, a game of masks, a stream of ideas and actions.
The exhibition in the MUAC is the first application of this script. Here, emphasis has been placed on the duo film/installation and on interpreting the architecture of the museum in tension with his studio in Mexico City. The visual part of his work moves to the level of the creation of narrative structures that allow the Axioms to be put into practice. It includes works not seen before in Mexico, such as the installation Black Cloud (2007), the project Life in the Folds (2017) and a new installation called Aprende a joderte (2018), which contradicts the foundations of his own artistic practice.
Authors : Cuauhtémoc Medina, Carlos Amorales, Maria Barnas, Dawn Ades
Language : Spanish & English
Editor: MUAC-UNAM, RM