Mexican artist, researcher and architectural designer.
His work uses architecture, drawing, sculpture, writing and video to explore histories of indigeneity in architectural modernity and the production of extreme environments in the Americas. He has been a fellow of the Society of Architectural Historians and a grantee of Jumex Foundation for Contemporary Art, Andrew W. Mellon Foundation, and DCASE, among others. His work has been shown at DePaul Art Museum, BienalSur, Ca’ Foscari Zattere, Rhona Hoffman Gallery, Andrew Rafacz Gallery, Uri-Eichen Gallery, SITE Galleries, SpaceP11 and Centro de Arte y Filosofia. He has been a guest speaker for institutions and organizations like MoMA’s Emilio Ambasz Institute x DocTalks, the American Institute of Architects, the Society of Architectural Historians, Smart Museum of Art, Materia Abierta, UPenn, MAS Context and CENTRO.
Lecturer of Architecture History and Studio at the School of the Art Institute of Chicago.
He manages the Katz Center for Mexican Studies, The University of Chicago.
Upcoming:
Exhibition at Albert Pick Hall, University of Chicago
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Previous clients and collaborators include, Art Institute of Chicago, Singapore Art Museum, Edith Farnsworth House, Goethe-Institut Chicago, Michael Rakowitz Studio, Black Athena Collective, Dawit L. Petros, and Center for Latin American Studies at The University of Chicago.
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The Issue You Mentioned Earlier
On ecology and capitalism
Exhibition
On March 19th, 2015, Florida’s emergency management chief Bryan Koon testified before the State Senate Budget Subcommittee against the Federal Emergency Management Agency plat to pull federal funding from states that refuse to directly address climate change.
In alignment with his position of climate change denial, Koon went through a series verbal gymnastics to avoid using the scientific term for our current catastrophic path in his statements.
The central piece of the show, “Wish You Weren’t Here” consists of a scaled steel cofferdam (a dam that prevents flooding of foundations in construction sites below sea levels) displays phrases exchanged in official emails by climate change deniers in the US Senate. Such phrases are projected over a melted piece of ice that floods the structure - residue of the Polar Vortex that hit Chicago one week before the opening of the show.
Thuribles for a poisonous mushroom colloquially known as Destroying Angel embody the abstract threat of climate change. The gallery’s circuit box frames a nilometer that measures the scales of an Ideal Flood, and a two channel video installation loops the works “Catastrophic Ice Formation” and “Order is human”.
In collaboration with Rosemary Hall.
This project was possible thanks to the support of: Jonathan Solomon and David L. Hays.
In alignment with his position of climate change denial, Koon went through a series verbal gymnastics to avoid using the scientific term for our current catastrophic path in his statements.
The central piece of the show, “Wish You Weren’t Here” consists of a scaled steel cofferdam (a dam that prevents flooding of foundations in construction sites below sea levels) displays phrases exchanged in official emails by climate change deniers in the US Senate. Such phrases are projected over a melted piece of ice that floods the structure - residue of the Polar Vortex that hit Chicago one week before the opening of the show.
Thuribles for a poisonous mushroom colloquially known as Destroying Angel embody the abstract threat of climate change. The gallery’s circuit box frames a nilometer that measures the scales of an Ideal Flood, and a two channel video installation loops the works “Catastrophic Ice Formation” and “Order is human”.
In collaboration with Rosemary Hall.
This project was possible thanks to the support of: Jonathan Solomon and David L. Hays.