Artist: Emilio Chapela
No Pain, No Brain
April 28, 2016 – June 18, 2016
Henrique Faria Fine Art
New York, NY
Building on the investigations of the material manifestations of human perspective and information systems that Chapela introduced in his 2014 exhibition at the gallery, No Pain, No Brain focuses specifically on the intellectual and physical environments of the Bell Labs complex during its 90-year history. As the premises were recently sold to Nokia and some buildings are on the verge of being converted into a “mixed-use lifestyle complex”, Chapela took on the role of archeologist and anthropologist as he explored the grounds and uncovered its vestiges: abandoned but yet stuck in time, as if the scientists would return at any moment to resume their experiments. The Do Not Erase series offers a tribute to the anonymous scientists whose musings remain un-erased on whiteboards inside the Laboratories’ buildings. Saved from the fate of demolition, these whiteboards preserve for posterity the ‘famous last words’ and calculations of some of these scientists, some of which include “No Pain, No Brain” and “Frieder Mach’s Gut!” As Ken Farmer writes in the exhibition text, “Appropriation and direct representation creates the space for abstract reflection and poetic speculation.” Re-contextualized in the gallery, these whiteboards offer glimpses into sets of knowledge and potentialities to which the public was not privy until now.
Other works also speak to Chapela’s interest in opening up the boundaries of knowledge in light of the on-going technological boom. Bell Nobel Prizes (2016) presents the brains of the eight Nobel Prize-winning scientists that worked at Bell Labs. The brains here are made of silicon, “an atomic relative of the carbon that comprises our own brains and the key ingredient in the computer chips that power society today”, and continue the speculation started by early science fiction writers of whether it too could be a life-generating and sustaining element. The sculptural series Semi-transistors (2016) also uses silicon as a base, this time for amplifying an electrical current, and pays homage to the first transistors that were created at Bell Labs in 1947. In the midst of the surge of artificial intelligence and machine learning, these works acknowledge the present issues brought forth by the machine’s challenge to the singular power of the human mind.
Artists: Emilia Azcárate, Jacques Bedel, Fernando ‘Coco’ Bedoya, Paulo Bruscky, Jorge Caraballo, Elda Cerrato, Emilio Chapela, Guillermo Deisler, Noemí Escandell, Nicolás García Uriburu, Anna Bella Geiger, Leandro Katz, Leonel Luna, Jonier Marín, Juan José Olavarría, Alejandro Puente, Osvaldo Romberg, Horacio Zabala, Carlos Zerpa.
América
October 21, 2015 – February 10, 2016
Henrique Faria
Buenos Aires, Argentina
Perfiles múltiples para un continente
La historia de América está repleta de gritos: aquellos del conquistador divisando tierra, los de independencia -desde Dolores a Yara- o los del inmigrante que a comienzos del siglo XX intentaba conjurar con su voz el calvario que atravesaba. Sin embargo, hay otras formas de decir América, modos singulares de invocarla, donde se experimenta con su nombre, su cartografía o su pasado. Aquí América se revela como una construcción, una evocación estratégica para desarmar imágenes naturalizadas, desafiar poderes o confrontar mecanismos de opresión.
A través de las obras que participan de esta exposición es posible distinguir no sólo cómo los diversos problemas de las agendas americanas fueron recurrentes en las investigaciones de los artistas contemporáneos sino la manera en que sus estrategias, sus fundamentos políticos y sus objetivos de intervención se modificaron a lo largo del tiempo. Sin embargo, es necesario regresar hacia las obras, establecer nuevos diálogos entre artistas y clarificar sus contextos de circulación para dar lugar a la tarea que parece más urgente: desarmar lecturas naturalizadas que en el estado actual del arte definen los perfiles de lo latinoamericano.
Agustín Díez Fischer
December 7, 2015 Emilio Chapela: Cavalo de Pau https://abstractioninaction.com/happenings/emilio-chapela-cavalo-de-pau/
Artist: Emilio Chapela
Cavalo de pau
October 9 – November 21, 2015
Galeria Pilar
Sao Paulo, Brazil
Monochrome Undone
SPACE Collection
Curated by Cecilia Fajardo-Hill
October 24, 2015 – April 1, 2016
SPACE, Irvine, CA
Artists: Ricardo Alcaide, Alejandra Barreda, Andrés Bedoya*, Emilio Chapela, Eduardo Costa, Danilo Dueñas, Magdalena Fernández, Valentina Liernur, Marco Maggi, Manuel Mérida, Gabriel de la Mora, Miguel Angel Ríos, Lester Rodríguez, Eduardo Santiere, Emilia Azcárate, Marta Chilindrón, Bruno Dubner, Rubén Ortíz-Torres, Fidel Sclavo, Renata Tassinari, Georgina Bringas, Abraham Cruzvillegas, Thomas Glassford, José Luis Landet, Jorge de León, Bernardo Ortiz, Martin Pelenur, Teresa Pereda, Pablo Rasgado, Ricardo Rendón, Santiago Reyes Villaveces, Mariela Scafati, Gabriel Sierra, Jaime Tarazona, Adán Vallecillo, Horacio Zabala.
The monochrome as a focus in the SPACE Collection began in a spontaneous form and soon became a systematic field of research. This exhibition is about the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art. If we think about its origins or meaning, we find that the monochrome is many contradictory things. The monochrome is neither a movement nor a category; it is not an “ism” or a thing. It may be painting as object, the material surface of the work itself, the denial of perspective or narrative, or anything representational. The monochrome may be a readymade, a found object, or an environment—anything in which a single color dominates. The monochrome can be critical and unstable, especially when it dialogues critically or in tension with modernism. This exhibition is organized into four different themes: The Everyday Monochrome, The White Monochrome, The Elusive Monochrome and The Transparent Monochrome. These themes have been conceived to create context and suggest interpretations that otherwise might be illegible. These may overlap at times, pointing to the multiplicity of content in many of the works. The unclassifiable and variable nature of the monochrome in Latin America today is borne of self-criticality and from unique Latin contexts, to exist within its own specificity and conceptual urgency.
To purchase the catalogue click here.
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El monocromo, como enfoque de SPACE Collection, comenzó de forma espontánea y a poco se convirtió en un campo de investigación sistemático. Esta exposición trata sobre el monocromo contemporáneo en América latina. El monocromo es una de las formas de arte más elusivas y complejas del arte moderno y contemporáneo. Si reflexionamos acerca de sus orígenes o su significado, nos encontramos con que puede albergar muchas cosas contradictorias. El monocromo no es un movimiento ni una categoría; no es un “ismo” ni una cosa. Puede ser la pintura como objeto, la superficie material de la obra, la negación de la perspectiva o de todo lo representativo o narrativo. El monocromo puede ser un readymade, un objeto encontrado, un cuadro o un ambiente: cualquier cosa definida como una superficie cromáticamente uniforme donde un solo color predomina. El monocromo puede ser crítico e inestable, especialmente cuando se dialoga críticamente o en tensión con el modernismo. Esta exposición está organizada en cuatro temas: el monocromo cotidiano, el monocromo blanco, el monocromo elusivo y el monocromo transparente. Estos temas han sido concebidos a fin de crear un contexto y sugerir interpretaciones que de otra manera podrían ser ilegibles. Éstos pueden superponerse a veces, apuntando a la multiplicidad de contenidos en muchas de las obras. La naturaleza indeterminada, inclasificable y variable del monocromo en Latinoamérica hoy en día es producto de la autocrítica y de los contextos propios, para existir dentro de su propia especificidad y urgencia conceptual.
Para comprae el libro haz clic aquí.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition, curated by Cecilia Fajardo-Hill, SPACE, CA, USA.
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- Monochrome Undone exhibition catalogue.
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- Monochrome Undone exhibition catalogue.
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- Monochrome Undone exhibition catalogue.
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- Monochrome Undone exhibition catalogue.
Artists: Emilia Azcárate, Artur Barrio, Jacques Bedel, Coco Bedoya, Luis F. Benedit, Paulo Bruscky, Jorge Caraballo, Sigfredo Chacón, Emilio Chapela, Guillermo Deisler, Mirtha Dermisache, Anna Bella Geiger , León Ferrari, Jaime Higa, Eduardo Kac, Leandro Katz, Guillermo Kuitca, David Lamelas, Marie Orensanz , Clemente Padín, Claudio Perna, Federico Peralta Ramos, Dalila Puzzovio, Juan Pablo Renzi, Osvaldo Romberg, Juan Carlos Romero, Eduardo Santiere, Mira Schendel, Pablo Suarez, Horacio Zabala, and Carlos Zerpa.
Grafías y ecuaciones
June 1 – August 5, 2015
Henrique Faria Buenos Aires
Buenos Aires, Argentina
¿En qué momento una letra se convierte en una figura, un garabato en un signo, una línea en un significante, una imagen en una palabra, un poema en un dibujo, una consigna política en una afirmación de lo sensible? ¿En qué momento, en qué preciso momento, nuestra percepción se disloca para entrar en una zona de turbulencia en la que se entreveran signos y figuras? Grafías y ecuaciones es una exploración en las obras de artistas que transitaron por esa zona de turbulencia donde las divisiones convencionales entre palabra e imagen ya no funcionan.
Las grafías de las obras que se exhiben en esta exposición son también ecuaciones: equivalencias y analogías que hace la imaginación para encontrarse con la diferencia, lo irreductible o el sinsentido en un laberinto de trazos metafísicos, políticos o plásticos. Sea como medición previa para cualquier obra, sea como traducción irrisoria o paródica, sea como pasaje de un sistema a otro, la diferencia entre signo lingüístico e imagen visual colapsa para dar lugar a un campo experimental que nos impulsa a una indagación por el Sentido y, al mismo tiempo, a una exploración de los sentidos.
Gonzalo Aguilar
August 5, 2015 Emilio Chapela: New International Boundary Commission https://abstractioninaction.com/happenings/emilio-chapela-new-international-boundary-commission/
Artist: Emilio Chapela
New International Boundary Commission
March 6 – May 10, 2015
Museo de Arte Carrillo Gil
Mexico City, Mexico
The artistic proposal of Emilio Chapela has an interest in the mechanisms involved in human communication and how these processes impact society. Also questioned our relationship with various technological tools, such as books, libraries, the Internet and social networks.
Guillermo Santamarina, chief curator of the MACG, explained that aside from what those who view the works of Emilio Chapela may take away freely from the experience of approaching this anthological show, concerted between the Carrillo Gil Art Museum and the artist, certain lines of reflection may be highlighted that lay the foundation for the structure of the New International Boundary Commission, an organization established by Chapela himself, inspired by the nomenclature of the organism created in 1889 by the United States and Mexico in order to enforce international treaties regarding the lands and waters between these two nations.
A correspondence between gazes from either side of a linguistic portal, resolved through a dynamic of critical activism in response to simulations of referential urban order; the development of poetic inspections that lead to resistance, given the terminal conditions that run like shadows behind the nefarious policies that determine obtuse teaching methods, thus perpetuating inequality and social oppression; a conceptual network that refreshes the irrepressible halo of detournement (an artistic technique that consists of appropriating material from normative culture, the art world and consumer society and intervening it in order to divert its meaning); this New Boundary Commission also accredits another column of expression within the cosmos of Emilio Chapela, singularly articulating a complex of reflection in modern art history: art for art’s sake.
“No matter what vortices the observers of this new commission choose to focus on (and not to confine within borders) in order to gain comprehension of the linguistic complex explored by Emilio Chapela, this experience—plural, open and dynamic— finds its recapitulation unified on the scale of a single floor of the MACG, thus assimilating the articulation of a single entity. As in a home. As in a solitary planet, unique in the cosmos. It is constituted by units interconnected simply by curiosity and emotions. Perhaps like that which, whenever one takes a step, encounters the ground…hard, rough, dirty, and even foul at times. Ground, what it should be, what we have always believed it was. The surface that binds us to life. Essence. Meaning. The things that occur when you close your eyes and off in in the distance, distinguish a line. The Horizon, limitless” Santamarina declared
March 9, 2015 Emilia Azcarate, Sigfredo Chacón, Emilio Chapela, Eduardo Costa, Diana de Solares, Marcolina Dipierro, Jaime Gili, Juan Iribarren, Bárbara Kaplan, Luis Roldan, Osvaldo Romberg, Horacio Zabala: Dirty Geometry https://abstractioninaction.com/happenings/dirty-geometry/
Artists: Emilia Azcárate, Alessandro Balteo Yazbeck, Cecilia Biagini, Sigfredo Chacón, Emilio Chapela, Eduardo Costa, Willys de Castro, Diana de Solares, Marcolina Dipierro, Eugenio Espinoza, Jaime Gili, Mathias Goeritz, Juan Iribarren, Bárbara Kaplan, Ramsés Larzábal, Raúl Lozza, Beatriz Olano, César Paternosto, Alejandro Puente, Luis Roldán, Osvaldo Romberg, Joaquín Torres García, and Horacio Zabala.
Dirty Geometry
December 2 -7, 2014
Curated by Osvaldo Romberg
Mana Contemporary
Miami, FL, USA
Dirty geometry has existed throughout 20th century art although not in a manifest way; it implies a subversion of the laws of logical rigor, systemism and utopian modernism that have pervaded geometry since Kandinsky. In his milestone book Concerning the Spiritual in Art, Kandinsky argues against geometry as decoration; instead, he promotes geometrical painting as a spiritual tool. The quest of the spiritual, of a balance between the mind and intellectual order constituted the fundamental idea behind geometric art. Geometrical abstraction was used in different times, as we see for instance in Kandinsky’s compositions, in the rigorous nihilism of Malevich’s “Black on Black”, and in the concrete iconography of Max Bill.
Through my concept of “Dirty Geometry,” I want to undermine the rigid, global imposition of geometry that has dominated from the beginning of the 20th century. Of course, other artists have already played with this approach more or less consciously: Rothko when he broke the grid, Frank Stella with his Cone and Pillars series from the eighties.
However I came to realize that Latin-America offers the most prominent examples of “Dirty Geometry.” First, this might be explained by the often rudimentary absorption of the center by the periphery, as peripheral access to major art trends has long been mediated by art reproductions, and perceived through local cultural prisms. This is even truer in Latin-America where most countries lacked a radical and contemporary art scene. Secondly, in Latin America one always finds forms of political and existential resistance against the values of neo-liberalism embodied by the center.
“Dirty Geometry” will question different aspects of American, Russian and European abstract art such as the imposition of polished finish on paintings, the compositions and the purity of its lines, classical applications of colors inherited from the Bauhaus, Concrete Art, etc.
In the forties for instance, the Latin-American group MADI challenged the format of the canvas, the relation between two and three dimensions, etc. In the sixties the Latin-America group of Kinetic Art in Paris challenged the static geometry produced by artists such as Vasarely and Herbin, and introduced movement, light and shadow to abstract art.
I would therefore suggest that Latin-America has proceeded to elaborate a kind of creolization of the dominant geometrical art; this is a recurrent phenomenon in other fields of Latin-American culture, and we encounter it in religion, education, food, inventions, etc.
The more figuration moves away from reality and representation, the more it needs to resort to theory in order to retain legitimacy. Geometry as we traditionally conceive it can only be legitimized by a tight, rigid theoretical framework. “Dirty Geometry” is therefore a rebellious attempt to break from all theoretical frameworks and thus invent a geometry that would be free from theory. This is a dirty war, one that we could define as “below the belt”. George Bataille believed that “divine filth” brings about true eroticism; likewise, I would suggest that it is possible to bring about an eroticism of geometry through dirt.
November 24, 2014 Emilio Chapela: Réquiem Opus II https://abstractioninaction.com/happenings/emilio-chapela-requiem-opus-ii/
Artists: Emilio Chapela
Réquiem Opus II
July 19 – September 13, 2014
Arróniz Arte Contemporáneo
Mexico City, Mexico
August 1, 2014 Emilio Chapela: Man is the Measure https://abstractioninaction.com/happenings/emilio-chapela-man-measure/
Artist: Emilio Chapela
Man is the Measure
March 26 – May 10, 2014
Henrique Faria Fine Art
NY, USA
“Man is the measure of all things: of things which are, that they are, and of things which are not, that they are not.” -Protagoras, quoted in Plato’s Theaetetus
The exhibition features a selection of recent installations, videos, lithographs and paintings that speak to the themes of limits, borders and their cartographies. By invoking Protagoras’ assertion, Chapela investigates how human perception manifests physically and how it defines political, cultural and epistemological boundaries.
The works La Mojonera (2014) and Radio Latina (2013) highlight the efforts taken to map national borders, specifically between the United States and Mexico. La Mojonera stands as a replica of the landmarks placed along this border as a result of the Treaty of Guadalupe Hidalgo in 1848. Placed along the border at intervals determined by the farthest lines of sight, the obelisks were monuments that structurally delineated the exact location of national boundaries so that the border could be recognized by the human eye and thus respected. La Mojonera is juxtaposed with the video Radio Latina, which traces, using Google Street View images, an expanse of the more recently constructed US-Mexico border wall to the soundtrack of the Radio Latina station, whose listener base is made primarily of migrant workers and undocumented immigrants. Radio Latina accentuates the conflicts that arise between the arbitrary delimitation of borders and the currents of information that pass freely between them. While a stark wall attempts to separate people and territories, Google, and the Internet in general, afford the ultimate freedom and accessibility of information and radio waves move unencumbered through the air, delivering data to all who have the capability of receiving it.
Holmdel Antenna (2014) is an installation featuring a miniaturized model of the antenna that first captured the noise of the Big Bang alongside a photograph of the actual device and the astronomers, Arno Penzias and Robert Wilson, who determined the noise’s origins. The work is both a monument to the sound’s discovery and to the advances, both astronomical and philosophical, that have been made since. It was Penzias and Wilson who began mapping the microwaves that pulsed throughout outer space, effectually charting what is known as the Cosmic Microwave Background. Being that the Cosmic Microwave Background forms a crucial element in the fabric of the universe, it is fitting that Chapela appropriates its image and transforms it into a rug hand woven according to a traditional Oaxacan technique. Cosmic Microwave Background (2013) thus embodies within its fabric two different quantifications of human knowledge: that of handed-down artisanal practice and empirical science.
With his use of widely accessible technological tools, Chapela demonstrates how their utilization and the information they generate can both shape and influence cultural and societal beliefs, but he also strives to give viewers a sense of what this information might actually look like. His works, like List of Countries by GDP (Nominal) (2014) which assigns colors and sizes to different cubes that represent the GDPs of 182 countries, blend qualitative and quantitative descriptors and illustrate how information occupies space. What underlies Chapela’s various projects is the search to understand, on an aesthetic as well as philosophical level, the expansive potentials of knowledge and its ultimate, human limits.
Emilio Chapela (Mexico City, 1978) graduated from the Communication Sciences program at the Universidad Iberoamericana in 2002. He received a diploma in Photography and New Media at the Centro de la Imagen in Mexico City in 2001. He has been the recipient of several grants from the Fondo Nacional para la Cultura y las Artes (FONCA) including: Cultural Co-Inversions (2008) and Young Creators in two different occasions (2004-2005) and (2013-2014). Chapela was the artist in residence at the International Studio and Curatorial Program in New York in 2007 (supported by a grant from FONCA) and at Linnienstrasse 40 in Berlin in 2012. He was presented with the Emerging Artist Award at PULSE Miami Art Fair in 2008 and the Tequila Centenario award in the same year. Currently, Chapela is working with the support of a grant from the Jumex Foundation and Collection towards the publication of a book (forthcoming, November 2014) about distinctive artistic projects that explore the creative possibilities of books and libraries. His work has been featured in solo exhibitions at the Sala de Arte Público Siqueiros, Mexico City (2013); Galería 11×7, Buenos Aires (2012); Linnienstrasse 40, Berlin (2012); Casa Maauad and Henrique Faria Fine Art, New York (2011); and Saw Gallery, Ottawa (2011). He has participated in acclaimed group exhibitions at Foto Colectania, Barcelona (2013); the Museo de Arte Moderno, Casa del Lago and Centro de la Imagen, Mexico City (2012); the Kunstraum and NGKB, Berlin (2012); the Museum of Contemporary Art, Toronto (2011); Pace Gallery, New York (2011); the Museum of Fine Arts, Houston (2010); Houston Photo Fest Biennial (2010); and the Bass Museum, Miami (2010).His work has been acquired by the following institutions and collections: Colección Jumex, Museum of Fine Arts, Houston; FEMSA, Monterrey; and Sayago & Pardon, Tustin, California.
Grenzstraße (Calle de la frontera / Calle del límite)
Casa Maauad
Mexico City, Mexico
Casa Maauad presenta la exposición Grenzstraße de Emilio Chapela, que consiste en un conjunto de obras que exploran problemas sociales, políticos, filosóficos y cosmológicos desde una óptica común; el concepto de límite (boundary en inglés y Grenze en alemán). La obra intenta señalar y desafiar límites espaciales, políticos, territoriales, tecnológicos y personales. Sitúa el concepto de horizonte como aquello al final del límite, aquello que sobrepasa nuestra vista y nuestro entendimiento. El horizonte cosmológico, por ejemplo, marca el confín del universo visible y escuchable. Las fronteras territoriales señalan líneas que delimitan el libre transito de personas, al mismo tiempo que configuran la identidad nacional. En Internet, los horizontes son amplios y complejos, son límites difíciles de detectar y dibujar. Sus límites confrontan con frecuencia otros horizontes, como aquellos que circunscriben la esfera de lo privado. A través de video, fotografía, grabado y escultura, Emilio Chapela nos invita a reflexionar y preguntar por los alcances del individuo y la sociedad para comprender sus propios limites.
February 3, 2014 Emilio Chapela: Requiem https://abstractioninaction.com/happenings/emilio-chapela-requiem/
Emilio Chapela: Requiem
July 10, 2013 – January 5, 2014
Sala de Arte Público Siqueiros
Mexico City, Mexico
In Requiem, Emilio Chapela restructured the system of organization in the library of David Alfaro Siqueiros and treats this replica as a new strategy to navigate the muralist’s collection. Revealing of his worldview is the fact that Siqueiros organized over 2,000 books in three main categories: Art, Politics and Others. Considering this classification as an entry point, Emilio studied the library and pointed to the contrasts in terms of content, hidden by the previous system.
Maintaining the original categories, Chapela created exact copies of all the books in wood. Respectively, the colors red, blue and yellow located on the spine of each book represent Art, Politics and Others. Although Siqueiros only read Spanish, English and French, his library contains texts in Russian, Japanese, Greek, Chinese, English, Italian and German. In the replica, these are shown with other colors, the duplicate allowing for further interpretaions of Siqueiros’ political standpoint. For example, Vladimir Ilich Lenin through Photography (1969) is a first edition published in Russian in the Soviet Union in the Politics category that presents a visual analysis on Lenin.
For Chapela, Requiem can be appreciated as a funeral procession that refers to the library’s conceptualization and the present-future of the book. Throughout his research, the artist recovered “scan errors” discarded by the Siqueiros Researcher, during the digitalization process of the library that began in 2010. Alluding to the current state of the collection, Chapela reinterpreted these as photographs. Lastly, Chapela included a handout of a page of another Russian book, pointing to the act of possession and the configuration of a personal collection.
Emilio Chapela lives and works both in Mexico City and the Forgotten Realms of the Earth. He works with the latest technology from Japan and China. His artistic practice is concerned with the development of a system that allows the operator to control various processes such as those used for conventional and unconventional methods to determine the relative importance of individualized factors. He also investigates the effect of increasing importance of the different methods used to identify the specific factors involved in the production and dissemination of a particular type of information. In such a way, he has worked with several different methods to determine how the various systems respond to the needs identified through their own resources. He has participated in shows both at galleries, museums and other cultural institutions, at places like the U.S. Geological Society of America and at the Museum of Modern Art in New York. He was awarded with the prestigiou award for gallantry in the field of public procurement and disposal. In 2010, he published his first book on the history of the world. In the near future, he will be showing his work at the National Institute of Technology and Information Ethics in Washington DC.
*This artist statement has been generated by a computer.
Click here to view Emilio Chapela on Abstraction in Action.
December 6, 2013 Emilio Chapela https://abstractioninaction.com/artists/emilio-chapela/*This artist statement has been generated by a computer.
Emilio Chapela lives and works both in Mexico City and the Forgotten Realms of the Earth. He works with the latest technology from Japan and China. His artistic practice is concerned with the development of a system that allows the operator to control various processes such as those used for conventional and unconventional methods to determine the relative importance of individualized factors. He also investigates the effect of increasing importance of the different methods used to identify the specific factors involved in the production and dissemination of a particular type of information. In such a way, he has worked with several different methods to determine how the various systems respond to the needs identified through their own resources. He has participated in shows both at galleries, museums and other cultural institutions, at places like the U.S. Geological Society of America and at the Museum of Modern Art in New York. He was awarded with the prestigiou award for gallantry in the field of public procurement and disposal. In 2010, he published his first book on the history of the world. In the near future, he will be showing his work at the National Institute of Technology and Information Ethics in Washington DC.
Selected Biographical Information
Education / Training
- Lic. en Comunicaciones. Universidad Iberoamericana, Mexico City, Mexico.
- Diploma en Fotografía y Medios Alternativos. Centro de la Imagen, Mexico City, Mexico.
Prizes / Fellowships
- 2003: Jovenes Creadores, FONCA.
- 2007: Residencias en el Extranjero, FONCA/ISCP NYC.
- 2008: Fomento y Coinversiones Culturales, FONCA.
- 2010: Premio Tequila Centenario al Artista Emergente, ZONA MACO.
- 2013: Fondo para Publicaciones, Fundación/Colección Jumex.
- 2013: Jovenes Creadores, FONCA.
Solo Exhibitions
- 2013: “Requiem“, Sala de Arte Público Siqueiros, Mexico City, Mexico.
- 2012: “Ein Ungerhueurliches Beispiel von Sozialismus”, V.F.K.U. Rosa-Luxemburg-Platz, Berlin, Germany.
- 2012: “La Guerra de las Termitas”, Galería 11×7, Buenos Aires, Argentina.
- 2011: “A measure for some things“, Henrique Faria Fine Art, NYC, USA.
- 2011: “Ask Google”, Saw Gallery, Ottawa, Canada.
- 2010: “Made in Italy”, Galleria Galica, Milan, Italy.
Group Exhibitions
- 2013: “Obra Colección”, Foto Colectania, Barcelona, Spain. Curated by Joan Fontcuberta.
- 2013: “Formas y Pasajes”, Centro de las Artes, Monterrey, Mexico City, Mexico.
- 2012: “Tiempo de Sospecha”, Museo de Arte Moderno, Mexico City, Mexico.
- 2012: “The Black Market of Translation”, NGBK and Kunstraum Kreuzberg, Berlin, Germnay.
- 2011: “Social Media”, Pace Gallery NY, USA.
- 2011: “Patria o Libertad”, MOCA Toronto, Canada.
Publications
- Miscomunication: Baragouins, Giberish and Googledygook. 2008. Catálogo de Expoisición. Die Kurt Gödel Bibliothek. 2014. Ed. Sicomoro.
Collections
Links
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- Emilio Chapela, “Imbalance”, 2011, Formica (HPL) and plywood, 48 x 17 x 17 in. Image courtesy of the artist.
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- Emilio Chapela, “512 Drinks”, 2008, Series: 3+2AP, C-prints and aluminum frames, 700 x 201 cm. Image courtesy of the artist.
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- Emilio Chapela, “Taco Bell”, 2011, Series: Unique, Acrylic on canvas, 200 x 100 cm. Sayago & Pardon Collection. Image courtesy of the artist.
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- Emilio Chapela, “Illy-Lavazza”, 2010, Series: Unique, Acrylic on canvas, 220 x 200 cm. Image courtesy of the artist.
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- Emilio Chapela, “Oli di Oliva”, 2010, Series: 3+2AP, C-prints and aluminum frames, 100 x 150 cm. Image courtesy of the artist.
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- Emilio Chapela, “Tea Party, Democrats, Republicans”, 2011, Series: Unique, Paint and MDF, Variable dimensions. Location: NYC / Artist Pension Trust. Image courtesy of the artist.
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- Emilio Chapela, “Narco”, 2011, Series: Unique, Formica and MDF, Variable dimensions. Image courtesy of the artist.
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- Emilio Chapela, “Religión, Ciencia”, 2011, Series: Unique, Plywood and MDF, Variable dimensions. Image courtesy of the artist.
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- Emilio Chapela, “Finnegan’s Wake”, 2012, Series: 1+AP, Inkjet print, 60 x 120 cm. Sayago & Pardon Collection. Image courtesy of the artist.
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- Emilio Chapela, “Pepsi (history)”, 2012, Series: Unique, Acrylic on MDF, 270 x 25 cm. Image courtesy of the artist.
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- Emilio Chapela, “Wal-Mart”, 2012, Series: Unique, Acrylic paint and MDF, 120 x 25 cm. Image courtesy of the artist.
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- Emilio Chapela, “Natural Numbers 1”, 2009, Series: Unique, Paper, 10 letter sized frames. Image courtesy of the artist.
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- Emilio Chapela, “Democrazia, Democracia, Democracy, Démocratie, Demokratie”, 2010, Series: Unique, Acrylic pain on canvas, Variable dimensions. Image courtesy of the artist.
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- Emilio Chapela, “Peso, dollar, euro, pound”, 2010, Series: Unique, Acrylic paint on canvas, Variable dimensions. Location: Berlin (Artist Pension Trust). Image courtesy of the artist.
