专栏名称: 绘画艺术坏蛋店

调戏自己，愚弄大家！

Eduardo Sarabia 作品

绘画艺术坏蛋店 · 公众号 · · 2019-08-07 23:37

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Born in Los Angeles, 1976。 Lives and works in Guadalajara, Mexico

Gold Tooth, 2019

Oil on canvas

72 4/5 × 100 2/5 × 1 4/5 in

185 × 255 × 4.5 cm

Palm Spring Magic , 2019

Acrílico sobre papel

44 1/10 × 59 2/5 in

112 × 151 cm

Mazatlán Sinaloa , 2019

Acrylic on paper

44 1/10 × 59 2/5 in

112 × 151 cm

Jaguar Bar , 2018

Oil on canvas

100 2/5 × 145 7/10 × 1 3/5 in

255 × 370 × 4 cm

Rainy Day in Spain, 2018

Acrylic on paper

44 1/2 × 60 1/5 in

113 × 153 cm

Tepoztlan, 2017

Acrylic on paper,

113 x 151 cm

Monte Alban circa 2014, 2017

Acrylic on paper,

56 x 76 cm

The Masked Ones, 2017

Acrylic on paper,

113 x 151 cm

When The Smoke Clears, 2017

Acrylic and India ink on paper,

113 x 151 cm

The End II, 2017

Acrylic and India ink on paper,

113 x 151 cm

Dreaming On A Dream, 2017

Acrylic on paper,

113 x 151 cm

The End, 2017

Acrylic and India ink on paper,

113 x 151 cm

Plumed Serpent and Other Parties 2016

2016 Museo Tamayo, Mexico City, Mexico.

Ballads

2015 Other Criteria, New York, NY.

The exhibition “Ballads” consists of one wool tapestry and a new series of paper diorama boxes.

The text translates to Love, Love, Love. This series is inspired by the "narcomantas", which are crudely made coded messages hung on public areas in Mexico by gangs and drug cartels. Usually spray paint on a bed sheet type of thing. Sometimes the messages try to justify an event or even further explain an action of terror. Sometimes the cartels get blamed for something they didn't do in the media and this is their platform to give their side of the story. Sometimes they're just plain warnings to rival gangs. In this style and aesthetic Sarabia wanted to bring forward positive messages. Using the power of fascination with this phenomenon the artist has been working with a tapestry studio to make these works. Each is made by hand and takes about 2 months to weave. Like his ceramics Sarabia enjoy working with artisans in a collaborative process.

Also in the exhibition are a new series of paper diorama boxes. These are inspired by the designs in Sarabia's more commonly known work. Blue and white is a color scheme the artist uses and continued for this body of work. The works are 3 dimensional in custom made boxes. All the elements are painted in blue acrylic and and cut out to make the diorama box. The designs maintain a similar line based on his ceramic vases, but part from the traditional decorative craft "Papel Picado" (perforated paper), which he takes one step further transforming from 2d to 3d.

Campeonato en Guadalajara

2015 Travesía Cuatro, Guadalajara, Mexico.

Is it possible to create a reinterpretation of history that ignores the impulse to be consistent with real facts? Even though the collaboration between Marcel Dzama and Eduardo Sarabia does not attempt to answer this question, it brings up a series of involuntary answers that evidence an alternative approach. Firstly, it manifests a refusal to understand the past in terms of victories and failures, which enables the artists to distance themselves from the univocal tale, legitimized as true, in order to inquire into the peripheral events, ignored and disqualified by historians, assuming the dynamic and unresolved potential of history.

Campeonato de Guadalajara is the denial of a historical narrative composed by as assortment of montionless facts, it is the reanimation of what is considered to be inert. It is the remembrance of a chess tournament in Nice, for which Marcel Duchamp designed a poster and, simultaneously, it is a fragmented interpretation of the Florentine Codex, employing both artists’ visual languages. It is a sequence of secret rites performed by ballet companies gathering hooded terrorists and anthropomorphized animals, using costumes designed by Oskar Schlemmer and Francis Picabia. This collaboration is not a translation exercise; it does not seek to reach a consensus to establish a code that surpasses the contextual differences between the artists. Instead, it opts for a simultaneous dialogue, with interferences and interruptions.

Sarabia seeks to counteract the mythological constructs that operate behind the iconography associated with illegal drug trade in Mexico by transforming it into merchandise that may look like souvenirs from Mexican aesthetics. The popular imagery that usually inhabits these crafts is replaced by the reality of mass media that has installed itself at the level of everyday life. Meanwhile, Dzama has created an entire cast of characters that inhabits his work, they are forced to depict situations that could be the product of an infantile mind speculating about the nature of violence: despite being an explicit exploration of the macabre, a naïve and innocent character prevails. The represented events reject any sort of narrative coherence, creating vignettes consisting of paused and suspended ecstatic moments, making the viewer feel as if they were interrupting a pagan celebration.

Both artists aim to reconcile apparently contradictory worlds: the popular and recognizable with the occult and incomprehensible. The ways in which they manifest the contradictions between these two dimensions reveals a fracture of the archetypal understanding of the world. Sarabia accentuates this discordance by means of normalizing reality in form of merchandise, while Dzama resorts to the emulation of euphoric, violent, and sexual frenzy.

Marcel Dzama and Eduardo Sarabia Three kings, 2015

Collage paper and photograph, glow-in-the-dark paint, acrylic, ink and watercolor and canvas

7.38 x 11 x 0.5 in (18.73 x 27.94 x 1.27 cm)

2014 Instituto Cultural Cabañas, Guadalajara.

and Museo de Arte Contemporáneo

de Oaxaca, Oax. México.

This exhibition presents over a decade of production where Sarabia develops his works through a research process carried out in long journeys in which he collects stories, histories and mythologies from numerous communities, revealing how our understanding of the world is constructed by means of facts and fabrications, by means so much of reality as of fantasy. Being a narrator, he groups his pieces, at times in apparently spontaneous arrangements, or in careful compositions of interrelationships that suggest reflection and the universe of kitsch. He also speaks about dreams, about spirits, shamans; he paints colors on the faces of beautiful women, he searches for Pancho Villa’s treasure, he touches on the ancient pre- Hispanic myths, and confronts all of this with hard materialism, with the terrible economic forces that shape societies. Eduardo’s work is the result of deep reflection and wide research, and has been show in great museums. For these reasons this 10-year work compilation is more than anything, a homage to one of the most important young artists in Mexico.