Podcast appearances and mentions of carlos amorales

En su trabajo, Carlos Amorales se interesa principalmente por el lenguaje y la imposibilidad-posibilidad de comunicar por medio de formas irreconocibles o no codificables: sonidos, gestos y símbolos. Amorales experimenta en los límites entre la imagen y el signo con una variedad de medios: animación, video, cine, dibujo, instalación, performance y sonido. Su práctica se basa en diferentes formas de traducción: instrumentos que se transforman en personajes de sus filmes, letras que se vuelven formas y narrativas que devienen lenguaje corporal. Las obras de Amorales existen en un mundo alterno, paralelo al nuestro, que se rige por sus propias reglas y donde evolucionan constantemente, al igual que el proceso de su producción. Carlos Amorales estudió en Ámsterdam en la Gerrit Rietveld Academie (1996–97) y Rijksakademie van beeldende kunsten (1992-95). Ha realizado residencias artísticas en el Atelier Calder en Saché (2012) y MAC/VAL en Vitry-sur-Seine (2011) en Francia, y en Estados Unidos como parte del programa Smithsonian Artist Research Fellowship en Washington (2010). Sus exposiciones más representativas incluyen The Factory en el Stedelijk Museum (2019) en Ámsterdam, Axiomas para la Acción en MUAC de la Ciudad de México (2018), The Man Who Did All Things Forbidden en el Philadelphia Museum of Art en Filadelfia (2014), Germinal en el Museo Tamayo de la Ciudad de México (2013), entre otras. Ha representado a México en las Bienales de Venecia, Shanghai, Berlin y Emiratos Árabes. Luis Miguel Carlos Aguirre Morales vive y trabaja en la Ciudad de México. Hosted on Acast. See acast.com/privacy for more information.

THE LAST SUPPER AFTER LEONARDO L'ULTIMA CENA DOPO LEONARDO Sei grandi artisti si confrontano, con l'opera del maestro VETRINE DI LIBERTA' 40 artiste per la Libreria delle donne di Milano KROMO – KRONOS RENATA BOERO al Museo del 900. L'ORA DANNATA di CARLOS AMORALES , per l'artista messicano Viviamo tempi bui “ A FRIEND “- La nuova pelle dei caselli di P.ta Venezia , installazione dell'artista ghanese Ibrahim Mahama “ SONG OF MYSELF “ I paesaggi di Teresa Maresca all'acquario civico RENDERE VISIBILE L'INVISIBILE circondate dagli affreschi del Tiepolo a Palazzo Dugnani. le opere dei MASBEDO Oggi facciamo una carrellata delle mille mostre inaugurate in questi giorni per la MILANO ART WEEK che ha accolto MIART la Fiera dell'arte si chiude la settimana dell'arte e si apre quella del DESIGN con l'inaugurazione del NUOVO MUSEO in Triennale ve lo presentiamo in anteprima col presidente Boeri e il direttore Joseph Grima.

THE LAST SUPPER AFTER LEONARDO L'ULTIMA CENA DOPO LEONARDO Sei grandi artisti si confrontano, con l'opera del maestro VETRINE DI LIBERTA' 40 artiste per la Libreria delle donne di Milano KROMO – KRONOS RENATA BOERO al Museo del 900. L'ORA DANNATA di CARLOS AMORALES , per l'artista messicano Viviamo tempi bui “ A FRIEND “- La nuova pelle dei caselli di P.ta Venezia , installazione dell'artista ghanese Ibrahim Mahama “ SONG OF MYSELF “ I paesaggi di Teresa Maresca all'acquario civico RENDERE VISIBILE L'INVISIBILE circondate dagli affreschi del Tiepolo a Palazzo Dugnani. le opere dei MASBEDO Oggi facciamo una carrellata delle mille mostre inaugurate in questi giorni per la MILANO ART WEEK che ha accolto MIART la Fiera dell'arte si chiude la settimana dell'arte e si apre quella del DESIGN con l'inaugurazione del NUOVO MUSEO in Triennale ve lo presentiamo in anteprima col presidente Boeri e il direttore Joseph Grima.

THE LAST SUPPER AFTER LEONARDO L'ULTIMA CENA DOPO LEONARDO Sei grandi artisti si confrontano, con l'opera del maestro VETRINE DI LIBERTA' 40 artiste per la Libreria delle donne di Milano KROMO – KRONOS RENATA BOERO al Museo del 900. L'ORA DANNATA di CARLOS AMORALES , per l'artista messicano Viviamo tempi bui “ A FRIEND “- La nuova pelle dei caselli di P.ta Venezia , installazione dell'artista ghanese Ibrahim Mahama “ SONG OF MYSELF “ I paesaggi di Teresa Maresca all'acquario civico RENDERE VISIBILE L'INVISIBILE circondate dagli affreschi del Tiepolo a Palazzo Dugnani. le opere dei MASBEDO Oggi facciamo una carrellata delle mille mostre inaugurate in questi giorni per la MILANO ART WEEK che ha accolto MIART la Fiera dell'arte si chiude la settimana dell'arte e si apre quella del DESIGN con l'inaugurazione del NUOVO MUSEO in Triennale ve lo presentiamo in anteprima col presidente Boeri e il direttore Joseph Grima.

From April 2nd to July 8th, 2019, on the occasion of Miart 2019, Fondazione Adolfo Pini will present the exhibition THE ACCURSED HOUR, by Carlos Amorales, curated by Gabi Scardi. Carlos Amorales is interested in language, images and their transformation. More generally, he takes an interest in communication systems, their constant renewal, their potentialities and pitfalls; as well as the mechanisms that allow particular narratives to emerge at the expense of others; and, by extension, the issue of dominant representation, the manipulation of communication and thought. In his work visual art, music, animation and poetry converge, all interpreted, with great formal rigor, through a deep awareness of the present time and its tensions. For Fondazione Adolfo Pini, Amorales has conceived the exhibition THE ACCURSED HOUR, which focuses on his life-size installation Black Cloud and on various elements from the project Life in the folds. The exhibition will also include silhouettes and other works by the artist, in a continuous shift between images and signs. With Black Cloud, a swarm of thousands of black butterflies will invade the premises of the Foundation starting from the staircase at the very entrance. 15,000 butterflies will populate the new and the already existing spaces of the Foundation. With Life in the folds, the artist will scene the theme of human violence against other human beings. A kind of violence that lies deep within and that can explode in unjustified ways. The project also includes an animation video that tells a dramatic story while at the same time showing the hands of a puppeteer moving the characters' threads: a metaphor of the mystification to which history and our own actions are subjected, both whether we are aware of it or not. And origins of our ghosts, to recognize their scope, matrix, and ideological value. After presenting the five site-specific projects The Missing Link by Michele Gabriele, Materia prima by Lucia Leuci, Memory as Resistance by Nasan Tur, Labyrinth by Jimmie Durham and SUMMERISNOTOVER by Šejla Kamerić, with this new exhibition Fondazione Adolfo Pini continues its journey into contemporary art, under the guidance of Adrian Paci. Carlos Amorales Carlos Amorales lives and works in Mexico City. He studied in Amsterdam at the Gerrit Rietveld Academie (1996–97) and Rijksakademie van beeldende kunsten (1992–95). He has participated in artistic residencies at the Atelier Calder in Saché (2012) and MAC/VAL, Vitry-sur-Seine in France (2011), and as part of the Smithsonian Artist Research Fellowship program in Washington, D.C. (2010). His works have been shown in numerous solo and group exhibitions. Carlos Amorales represented Mexico at the 57th Venice Biennial with the project Life in the Folds (2017). Gabi Scardi Curator and contemporary art critic. Her research focuses on the latest artistic trends and the relationship between the arts and other close branches of knowledge. She worked with numerous museums and institutions in Italy and abroad, including: the Province of Milan; Pac Museum in Milan; Museo del Novecento in Milan; Pirelli Hangar Bicocca in Milan; MAXXI Museum in Rome; Venice Biennale; Royal Academy of London; Louisiana Museum in Copenhagen. For Fondazione Adolfo Pini she curated the exhibitions Memory as Resistance by Nasan Tur (2017) and Labyrinth by Jimmie Durham (2018).

Author Yuri Herrera in conversation with artists Carlos Amorales and Abraham Cruzvillegas