Autorretrato ciego como tsukumogami de chancla, comiendo proteína cinco veces al día, escuchando ‘Espíritu libre’ de Ray Barretto, y leyendo ‘Viaggi e altri viaggi’ de Antonio Tabucchi, 2014.
250 x 396 cm.
Grey acrylic paint on newspaper clippings, card- board, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, drawings, posters, flyers, cards, recipes, napkins and steel pins on wall.

Abraham Cruzvillegas (México, 1968)

Rather than being defined by a particular medium, Cruzvillegas’ work can be understood best through his process, which is deeply influenced by his surroundings. Often, this involves a very personal form of research in which the artist explores his own relationship to objects, their making, as well as the social context from which they emerged. The majority of his work from recent years is linked by the precepts of Autoconstrucción, a concept Cruzvillegas has developed in relationship to his practice. He uses the term to describe an improvised method of building, but it’s also an ideological premise – one that presents change as a permanent state, arising from the chaotic and fragmentary nature of life: “something definitively unfinished, something that is building itself forever: fragmentary, contradictory, weak, unstable, dark, transparent, warm, stupid, delirious, chaotic, crippled. It’s movement and life, it’s love, it’s sex, it’s me.” His most important exhibitions include: MALI in situ: Abraham Cruzvillegas, Museo de arte de Lima, Lima, Peru (2015); Autoconstrucción, Museo Jumex and Museo Amparo, Puebla, Mexico and Mexico City (2014); Abraham Cruzvillegas: The Autoconstrucción Suites, Haus der Kunst, Münich, Germany (2014) and Walker Art Center, Minneapolis, United States (2013); Self Builder’s Groove, Deutscher Akademischer Austausch Diens, Berlin, Germany (2011); Autoconstrucción, the Film, The New Museum, New York, United States (2011); The Magnificent Seven: Abraham Cruzvillegas, CCA Wattis Institute for Contemporary Arts, San Francisco, United States (2009); Autoconstrucción: The Soundtrack, Center for Contemporary Arts, Glasgow, United Kingdom (2008), among others. Additionally, his work has been included in group exhibitions at various institutions, including: The Museo de Arte de Zapopan, Guadalajara, Mexico (2014); Modern Art Museum of Fort Worth, Texas, United States (2013); The Museo Universitario de Arte Contemporáneo MUAC, Mexico City, Mexico (2011); Tate Modern, London, United Kingdom (2011); Museo de Arte Contemporáneo de Oaxaca MACO, Mexico (2009); The New Museum, New York, United States (2007), among many others.