Felix Gonzalez Torres @ MUAC
Si tú o tus cuates no saben quién es Feliz González Torres, no importa por que seguro lo ubicas. Para muchos que acudieron al MUAC en domingo (cuando es gratis), él era el artista en el cual su exposición constaba de muchos afiches que te podías llevar a tu casa. El cual también ocupó una sala entera para hacer un rectángulo de dulces envueltos en papel plateado (que también te podías llevar) o el de la montaña de paletas de colores rojo y azul.
Y todo esto qué representa? Por qué es arte? Por que se le considera un maestro del arte contemporáneo minimalista, conceptual, bla bla bla? Por qué se le dio la mitad de las salas que a Cildo Meireles que hizo más show y más producción (parecía disney caray!).
pues por esto: (ya no les hago sinopsis y si no saben inglés ni modo, pero vale la pena que lean este link de wikipedia y a parte, que vayan a ver la expo antes de que la quiten).
Cabe mencionar que esos posters ya decoran la mitad de los depas condesa-roma-juárez (sí, ya se extendieron los hipsters para allá) y a parte, el bar Leonor utilizó la pieza de los muertos para decorar sus paredes (BAD TASTE BUDDIES!!!)
Felix Gonzalez-Torres (November 26, 1957-January 9, 1996) was a Cuban artist who grew up in Puerto Rico before moving to New York City. Gonzalez-Torres had his first one-man exhibition of his early text pieces in 1988 at the Rastovsky Gallery (560 Broadway) in Soho. He dreamed of moving to Las Vegas.
His work was the focus of several major museum solo exhibitions in his lifetime and after his death. Retrospectives of his work have been organized by the Solomon R. Guggenheim Museum in New York (1995), the Sprengel Museum in Hannover, Germany (1997), the Serpentine Gallery in London (2000), and the FLAG Art Foundation in New York (2009).
Gonzalez-Torres was known for his quiet, minimal installations and sculptures. Using materials such as strings of lightbulbs, clocks, stacks of paper, or packaged hard candies, Felix Gonzalez-Torres's work is sometimes considered a reflection of his experience with AIDS. He was also considered within his time to be a process artist due to the nature of his 'removable' installations by which the process is a key feature to the installation. Many of Gonzalez-Torres's installations invite the viewer to take a piece of the work with them: a series of works allow viewers to take packaged candies from a pile in the corner of an exhibition space, while another series consists of stacks of ultrathin sheets of clear plastic or unlimited edition prints, also free for the viewer to take. These installations are replenished by the exhibitor as they diminish. The most pervasive reading of Gonzalez-Torres's work takes the processes his works undergo (lightbulbs expiring, piles of candies dispersing, etc.) as metaphor for the process of dying. Other readings include the issue of Public vs. Private, Identity, and participation in contemporary art. One of his most recognizable works, Untitled (1991) was a billboard installed in twenty-four locations throughout New York City of a monochrome photograph of an unoccupied bed, made after the death of his lover, Ross, to AIDS.
In one interview, he said "When people ask me, 'Who is your public?' I say honestly, without skipping a beat, 'Ross.' The public was Ross. The rest of the people just come to the work."
Gonzalez-Torres died in 1996 due to AIDS related complications. In May 2002, the Felix Gonzalez-Torres Foundation was created. In addition to serving as the official Estate of Felix Gonzalez-Torres, the Foundation hopes to "to foster an appreciation for the work of Felix Gonzalez-Torres among the general public, scholars, and art historians." The U.S. representative for the Felix Gonzalez-Torres Foundation is the Andrea Rosen Gallery, which heavily exhibited his work both before and after his death.
In 2007, he was selected as the United States' official representative at the Venice Biennale. (The only other posthumous representative from the United States was Robert Smithson in 1982.)