Coreografía de la imposibilidad, 2024
Plástico y metal
Variables

Things are now out of place. At the end of the day, the handrails are still there. Silence. Brilliance. Waiting for the next body that dares to decipher them. This language is a labyrinth of urban furniture used by public transport; steel lines that force the body to negotiate its crossing through spatial grammar. Each movement ends up being unintentionally choreographed. Here, to move is not to choose, it is to obey. Here, architecture is neither refuge nor ornament, but a device: an artifact that regulates, that restricts, that observes. In this space, the body doesn't move, it submits. The street furniture says: Don't come this way, stand, like this, here, not like this, stay like this, not this way. It’s said like a whisper, like a silent form of indoctrination, like teaching a movement towards standardizing bodies. It doesn't offer flexibility, but rigidity. This world invites playing games but also order; every structure enforces boundaries, and every turn enforces obedience. In this world, you traverse a labyrinth that compels you to move. Stainless steel is the dominant language, and every turn and angle conforms to the grammar that bodies must learn to decipher. There are no maps, only imposed trajectories. Here, walking isn't moving; it's executing a sequence of movements dictated by the shapes of the labyrinth. Safety is the guiding principle, the silent argument that justifies each turn in the labyrinth. A world where the body is no longer territory, but a journey, and where architecture invites one to move tirelessly, as if movement were the only form of belonging.

Biografía del artista

Maestro en artes visuales en la Universidad Nacional Autónoma de México (UNAM), programa educativo SOMA en Ciudad de México, Capacete en Río de Janeiro, Brasil, y Programa de Artistas de la Universidad Torcuato Di Tella en Buenos Aires, Argentina.

Ha expuesto en lugares como el Museo Nacional de Bellas Artes de Neuquén, Argentina (2019); Galería Vermelho, San Pablo, Brasil (2018); Casa del Bicentenario, Buenos Aires, Argentina (2018); Museo Nacional de Arte, La Paz, Bolivia (2017); Museo Tamayo de Arte Contemporáneo, Ciudad de México, México (2017); Museo de Arte Contemporáneo de Tamaulipas, Matamoros, México (2015); Museo de Arte Moderno de Cartagena, Colombia (2014); Ex Teresa Arte Actual, Ciudad de México, México (2014); Museo de Arte Moderno de Bogotá, Colombia (2013); Museo de Arte Contemporáneo de Santa Cruz de la Sierra, Bolivia (2012); Museo de Antioquia, Medellín, Colombia (2010), entre otros.

Ha realizado residencias artísticas en TEOR/éTica, San José, Costa Rica (2014); Nordic Artists’ Centre Dale, Noruega (2015); 32° East Ugandan Arts Trust, Kampala, Uganda (2016); Kiosko, Santa Cruz de la Sierra, Bolivia (2017); Barda del Desierto, Río Negro, Argentina (2019); y Cittadellarte - Fondazione Pistoletto, Biella, Italia (2025). 

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