Carlos Amorales: Axioms for Action (1996-2018) is a review of twenty-two years of Carlos Amorales' career (Mexico City, 1970) proposed as an exhibition that emphasizes the conceptual aspects of his work. Check how they operate beyond the presentation of specific series or works. Its core is a theoretical text by the artist, entitled Axioms for action , which defines the axes that have been constituting his work as an organic investigation, despite its multiform expression.
The project moves away from the idea of a conventional retrospective, since it would be completely contrary to the spirit of the work of an artist calling himself "Amorales" to be subject to a form of temporary, progressive and personalist narration. The fixity of the retrospective clearly appears contrary to the universe of possibilities that this fabricated identity has come to contain, and the chronology is often irrelevant to a conceptual map that is related in jumps and echoes over time. With this in mind, a sample that alludes to the logic of the work that Amorales represents must also be a changing map, a game of masks, a stream of ideas and actions.
It is not only that the ways that Amorales works cover a diversity of appearances and referents, geographies and emotions, signs and temporalities, more radical is that they suppose in one way or another the creation of devices, agents, codes and procedures that sabotage all custom of identification, and move the invention towards a manufactured structure and identity. In that sense, "Amorales" is at the same time a symbol, a brand, an actor and a manager of a variety of artistic assemblages: it is the point of convergence of a theater of perpetual staging.
His is a work systematically mediated by what the artist calls interface , an artifact of artifacts, a production of the producer, acting on the agent, the representation of the medium of representation. "Amorales" is not an individual nor only its public face: it is the field of operation of a series of acts that constitute forms of social and aesthetic relationship.
The sample in the MUAC is the first application of the project script. Besides serving as a moment of balance of the work of Amorales in his country and city of origin, the exhibition aims to show the flexibility of the script and the possibility of taking the "Axioms for action" within an imaginative and specific curatorial project. In this installment, the work of Amorales will be deployed with an emphasis on the binomial film / installation, while at the same time starting from an interpretation of the architecture of the Museum in tension with the reference space of the work of Amorales in its study in the Mexico City. In this version, the graphic part of his work will pass to a second plane, that which is related to the creation of narrative structures (scripts) that work as tools to put the Axioms into practice. In addition to the video, animation and film works, the exhibition will include a series of works that have not been seen in Mexico, such as the installation of a plague of moths called Black Cloud (2007), the whole project Life in the folds (2017) presented recently in the Mexican Pavilion of the Venice Biennial, and a new installation called Learn to Joderte (2018) with which it contradicts the aesthetic and conceptual foundations of their own artistic practice to, paradoxically, find an inverse application .