Highpoint Editions artist Carlos Amorales has been chosen to represent Mexico at the Venice Biennale during the summer of 2017. The Venice Biennale has been considered the premiere contemporary arts exhibition since its inception in 1895.
Each Biennale has a theme and this year, the title chosen by the curator Christine Macel for the 57th International Art Exhibition is “Viva Arte Viva”.
Christine Macel has explained the biennale title as follows:
“In a world full of conflicts and jolts, in which humanism is being seriously jeopardized, art is the most precious part of the human being. It is the ideal place for reflection, individual expression, freedom and fundamental questions. It is a “yes” to life, although sometimes a “but” lies behind. More than ever, the role, the voice and the responsibility of the artist are crucial in the framework of contemporary debates.”
The 57th International Art Exhibition will take place from May 13th to November 26th 2017 in the Giardini and the Arsenale and in various other venues in Venice.
Above: Artist Carlos Amorales with his work Black Cloud
The Plains Art Museum in Fargo, ND will present an exhibition of HP prints this fall. Entitled Beyond Order: Selections from Highpoint Editions, the exhibition will feature HP artists Carlos Amorales, Chloe Piene, Aaron Spangler and Do Ho Suh.
“Artworks in the exhibition explore the relationship between order and disorder, as well as individuality and collectivity. The selected works utilize an array of printmaking techniques culminating from each artist’s time spent in this regional print studio, which…is dedicated to advancing the wonderfully complicated and beautiful art of printmaking.” –Andy Maus, Director, Plains Art Museum
The exhibition will be on view September 17, 2016 through January 26, 2017.
Click here for more exhibition information.
Carlos Amorales’ Black Cloud, just closed at Toronto’s contemporary art gallery, The Power Plant. Black Cloud consisted of more than 30,000 black moths, cut out of paper and painstakingly installed in the gallery’s Fleck Clerestory exhibition space. The experience of standing within this installation immerses the spectator in within the swarm, ‘…whose frailty and stilled flight contrasts with the sordidness of their forceful infestation [of the space],” the Power Plant curator, guest Christine Shaw surmised. Read more and see installation images at the exhibition’s webpage here.
Image Credit: Carlos Amorales, Black Cloud, 2007/2015.
Installation view: The Power Plant, Toronto, 2015. Courtesy of Diane and Bruce Halle Collection. Photo: Toni Hafkenscheid.
Based in Mexico City and well-known internationally, Amorales embraces a collaborative, interdisciplinary approach to creating his art. He has had extensive international exhibitions, in 2010 he has shown in: Amsterdam, Netherlands; Madrid and Leon, Spain; Herzliyya and Jerusalem, Israel; Monterrey and Mexico City, Mexico and Miami, Florida. Through painting, performance, animation and design, he samples images from his Liquid Archive, a collection of drawings that he has assembled over the past decade. The digital archive contains more than 1,500 vector-based drawings, which depict everything from birds and wolves to airplanes and digitized paint drips. Amorales cultivates the replication and reconfiguration of his archive through collaborations with composers, animators, designers and other artists. While working with Highpoint Editions, this strategy led to the production of wonderful new prints.
A triptych created with HP Editions features white, gray and black variations on an all-over bird pattern. While at Highpoint, he also explored relief printing: Amorales inked laser-cut plexi shapes based on his Liquid Archive and printed them on the etching press. He was so pleased with the results that he used this technique in multiple new works. One suite features five configurations of an eagle’s head from the Liquid Archive. The eagle shapes were then overlapped and printed up to 150 times per print to form meandering, abstract trails with subtle shifts in tone.
Another triptych juxtaposes additional shapes from Amorales’ Archive: a bird’s head on human feet, hawks on slender legs and a woman’s torso rocking precariously on two legs (here, the incised lines resemble delicate muslin fabric when printed). Amorales incorporated color into four relief prints; after shaking a handful of plexi templates in a box, he let them fall on paper and printed them where they landed. Four other prints present a map of the world that has broken into pieces and scattered across the paper.
About the Artist
Carlos Amorales was born in Mexico City, 1970. He attended the Gerrit Rietveld Academie, Amsterdam and the Rijksakademie van Beeldende Kunsten. His work can be found in the collections of the Tate Modern (London), The Museum of Modern Art (New York), Daros-Latinoamerica (Zurich), Walker Art Center (Minneapolis), Museum Boijmaans van Beunigen (Rotterdam) and Fundación/Colección Jumex (Mexico), among others.
Among his many solo exhibitions, some of the most notable are Vivir por fuera de la casa de uno, Museo Amparo, Puebla (Mexico, 2010); Discarded Spider, Cincinnati Art Center and Orange County Museum (USA, 2008-09); Four Animations, Five Drawings and a Plague, Philadelphia Art Museum (USA, 2008), Dark Mirror, Daros Latinamerica(Zurich 2007); Carlos Amorales, MALBA (Buenos Aires, 2006); Why Fear the Future?, Casa de America (Madrid, 2005) and MUCA Campus (Mexico City, 2006); Amorales vs. Amorales, Challenge 2003, Tate Modern, (London, 2003). He has also been part of several group exhibitions, as well as part of various biennials.
For more information you can visit Yvon Lambert’s website at: www.yvon-lambert.com