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Abraham Cruzvillegas
Autorretrato fronterizo y chispeante abrazando el retrato de Gilberto Bosques, escuchando pirekuas y tragando esquites afuera de la catedral, 2014

Installation view: Atopia. Migration, Heritage and Placelessness, Works from the Thyssen-Bornemisza Art Contemporary Collection, Centro Cultural Metropolitano, Quito, Ecuador, 2016
Photo: Sebastián Cruz Roldán & Santiago Pinol

Installation view: Atopia – Migration, Heritage and Placelessness. Works from the Thyssen-Bornemisza Art Contemporary Collection, Museo de Arte Contemporáneo – Lima, Lima, Peru, 2017
Photo: Juan Pablo Murrugarra

Installation view: Atopia. Migration, Heritage and Placelessness, Works from the Thyssen-Bornemisza Art Contemporary Collection, Museo de Arte Moderno Bogota, Colombia, 2016
Photo: Sebastián Cruz Roldán & Santiago Pinol

Installation view: Atopia. Migration, Heritage and Placelessness, Works from the Thyssen-Bornemisza Art Contemporary Collection, Museo de Arte de Zapopan (MAZ), Guadalajara, Mexico, 2014
Photo: TBA21

Commissions & Productions

Commissions

Collection

Iron, aluminum, wood, grosgrain, rubber, stainless steel
725 x 950 x 557 cm
Commissioned by Thyssen-Bornemisza Art Contemporary for the exhibition “Atopia – Migration, Heritage and Placelessness,” at the Museo de Arte de Zapopan, Mexico, May 14–October 5, 2014, curated by Daniela Zyman and Viviana Kuri.

Like many of Abraham Cruzvillegas’s artworks, Self-portrait bordered, sparkled, embracing the portrait of Gilberto Bosques, listening to pirekuas and eating esquites outside the cathedral was assembled using materials the artist found on location, in this case, collected near the Museo de Arte de Zapopan, in Guadalajara, Mexico, where the work was first shown. Formally, the work is comprised of two material clusters that are in dialogue with one another. One protrudes upward with a slender, reed-like shape weighted down by a stack of concrete tiles. The other is a collection of construction metal and wooden bars arranged like sparks, or the rosette leaves of an agave plant shooting outward and upward from a central point. This work belongs to the series “Autorretrato,” which, as the title suggests, involves the artist reflecting on the Mexican diplomat Gilberto Bosques (1892–1995). Before beginning his diplomatic work, Bosques served as a leftist legislator and combatant during the Mexican Revolution. During one of his stations as a consul in Marseille in the 1940s, Bosques took it upon himself to rescue several thousand exiled Spanish Republicans and Jews, assuring they were not sent back to Spain and Nazi Germany. However, he did not receive much praise for his heroic actions and he remained largely unknown internationally until several years after his death, when his story came to light and his actions were celebrated. In 1944, Bosques said about his efforts: “I followed the policy of my country, of material and moral support to the heroic defenders of the Spanish Republic, the stalwart paladins of the struggle against Hitler, Mussolini, Franco, Pétain, and Laval.”

PAST LOANS

Group exhibition: Abundant Futures
Venue: C3A Centro de Creación Contemporánea de Andalucía, Córdoba
Curator: Daniela Zyman
Exhibition 1 April 2022 - 5 March 2023

CLICK HERE TO DOWNLOAD THE ESSAY

Patrick Charpenel, "Abraham Cruzvillegas: The Art of Resistance," in Thyssen-Bornemisza Art Contemporary:The Commissions Book,, eds. Eva Ebersberger and Daniela Zyman (2020: Sternberg Press)

@forgotten.cruzvillegas, on instagram, by Abraham Cruzvillegas

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Born in Mexico City, Mexico, in 1968. Lives in Mexico City, Mexico.