la voluntad de los objetos
“This notion of art as the ‘joy of energy’ is exemplified in Abraham Cruzvillegas’ work”. Tom Morton, Frieze.
In La voluntad de los objetos Abraham Cruzvillegas states: “Each artist proposes and constructs their own methodologies, rules, laws, and orders, which probably in most cases are and will continue to be based on a set of subjective and indecipherable contradictions, the latter called by some ‘praxis’”. The richness of Cruzvillegas’ work lies in these contradictions and ruptures: in risk. If anything characterizes his work, it is the implicit risk of formal and temporal expansion. The imminent risk in the capacity of the artist, in the words of Jimmie Durham, to meld in his work the three times (past, present and future) and to dissolve the borders between disparate artistic disciplines (photography, cinema, music, two dimensional work, sculpture, installation, performance, theater, writing), to generate a discourse that coheres, that gestates and grows, that moves forward in the face of doubt, to find a kind of lighthouse towards which to focus his efforts as he constructs his identity.
The main axis of Cruzvillegas’ work is centered around his “Autoconstrucción” project, which has developed through installations and exhibitions that have taken place all over the world. Less well known —but no less important— is his role as a writer. Cruzvillegas builds his texts from the living will of objects, using a unique and personal tone derived from his fascinating approach to culture – which he understands in its broadest and most flexible sense. Abelardo Barroso, The Bodysnatchers or Rigo Tovar; Joseph Conrad, John Gray, Günter Grass or Antonin Artaud; Tin Tan, the Espectro de Ultratumba or Ray “Boom Boom” Mancini; Rainer Werner Fassbinder or Pier Paolo Pasolini —and to conserve space, we have left out hundreds of other artists that influenced him, including the anonymous characters he grew up with in his neighborhood, where he observed “how human activity produces form”. All of these influences come together to form a vibrant language, one that teaches as it learns, and, in the manner of Jacques Ranciére’s ignorant teacher, shows us how to see the world with new eyes.
editorial sexto piso, 2014
mexico city, mexico
15 x 23 cm