Carlos Amorales lives and works in Mexico City. In his artistic research, he is interested mainly in language and the impossibility/possibility of communicating through means that are unrecognizable or not codified: sounds, gestures, and symbols. Amorales experiments at the limits between image and sign with an array of platforms: animation, video, film, drawing, installation, performance, and sound. His practice is based on different forms of translation: instruments become characters, letters become shapes, and narratives unfold as non-verbal actions.
Among Amorales’ numerous solo exhibitions, we can mention those held at Museo Universitario Arte Contemporáneo (Mexico, 2018), Power Plant (Toronto, 2015), kurimanzutto gallery (Mexico, 2015), Museo Tamayo (Mexico, 2013), Kunsthalle Fridericianum (Kassel, 2010), Philadelphia Museum of Art (2008), and Contemporary Arts Center (Cincinnati, 2008). Some of his most outstanding collective exhibitions are Under the Same Sun. Art From Latin America Today, Solomon R. Guggenheim Museum (New York, 2014); New Perspectives in Latin American Art, MoMA (New York, 2007); Mexico City: An Exhibition about the Exchange Rates of Bodies and Values, MoMA PS1 (New York, 2002). Additionally, he has participated in biennials like Manifesta 9 (Belgium, 2012), Havana Biennial (Cuba, 2015 and 2009), Performa (New York, 2007), Berlin Biennial (2001 and 2014), Manif d’art (Quebec, 2017), and the Venice Biennial (2003 and 2017). Carlos Amorales is notably represented by kurimanzutto gallery (Mexico and New York).
The Radical Imaginary: The Social Contract
2018.09.13 - 12.15
The group exhibition The Radical Imaginary: The Social Contract is the first project in a series of exhibitions about the Institution and its history, seeking to understand how artists have either associated themselves with or been opposed to it, gradually inflecting its positions. The judicial system is the institution studied in this initial component.Read more