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M+, Hong Kong, © courtesy of the artist and kurimanzutto, Mexico City
Abraham Cruzvillegas 阿夫拉姆．克魯斯比列加斯
Lazy blind self portrait listening to ‘El fandanguito’ performed by the great Camperos de Valle, not really understanding a possible influence of the Huasteco style of falsetto and violin solo on Heavy Metal, but finding some arbitrary links to Korean Animism from the speculation about specific signs of life in things like Mosquito huapanguero guitar and noodle soup, as prepared by aunt Amalia, who for me first pointed at peltre cookware as entities that suffered from smallpox, something that could be mentioned in Oscar Lewis’ ‘Five families’ 慵懶地盲繪着自畫像，聆聽樂隊Los Camperos de Valle演奏的《方丹戈舞曲》，不大明白墨西哥民間音樂Huasteco風格的假聲和小提琴獨奏對重金屬音樂的影響，但在思索生活中某些特定的事物，如華潘給拉吉他和阿馬利婭姨姨煮的湯麵時，卻無意發現當中與萬物有靈論的關聯。阿馬利婭告訴我白鑞製廚具因天花病而遭殃，這種疾病可在奥斯卡‧劉易斯《貧窮文化》一書裏提及
2016
Part of Abraham Cruzvillegas’s Blind Self Portrait series, this work is made up of newspaper clippings, photographs, drawings, receipts, recipes, letters, invoices, and other printed ephemera collected from daily life. The assembled papers are finished in a thick, uniform coating of pink acrylic paint, which has warped their surfaces to create irregular ripples that evoke wrinkled skin or distressed leather.
A total of 502 papers combine to create a pattern that is evocative of an urban grid, and the piece can be arranged in any number of configurations—the contours of the assemblage can be rectilinear or irregular and sprawling. Cruzvillegas is interested in the accidental expansion and modification of cities and architecture over time, a concept he describes as autoconstrucción, or ‘self-building’. Lazy blind self portrait reflects these informal urban transformations in its modularity.
The work’s long title references the artist’s many art historical and cultural influences, including regional folk music, Mexico’s fraught colonial history, and ancient religious practices. The pink paint evokes the favelas, or ghettos, of Rio de Janeiro, which artist Hélio Oiticica—one of Cruzvillegas’s inspirations—frequented.
A total of 502 papers combine to create a pattern that is evocative of an urban grid, and the piece can be arranged in any number of configurations—the contours of the assemblage can be rectilinear or irregular and sprawling. Cruzvillegas is interested in the accidental expansion and modification of cities and architecture over time, a concept he describes as autoconstrucción, or ‘self-building’. Lazy blind self portrait reflects these informal urban transformations in its modularity.
The work’s long title references the artist’s many art historical and cultural influences, including regional folk music, Mexico’s fraught colonial history, and ancient religious practices. The pink paint evokes the favelas, or ghettos, of Rio de Janeiro, which artist Hélio Oiticica—one of Cruzvillegas’s inspirations—frequented.
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