CISCO JIMENEZ: AnthroPOPology
Thursday, May 23, 2019
5:30pm - 8:00pm
Thursday, May 23, 2019 - Sunday, June 23, 2019
1824 Spring Street #109 Houston, TX
Forma110 is pleased to present AnthroPOPology, an exhibition featuring works from well known Mexican artist, Cisco Jimenez. Taking the route of traditional advertising images, Cisco twists them into works that delve into the complex themes of economic, political, and social proportions throughout Latin America. Drawing from the divide between contemporary art and folklore art, Cisco utilizes witty humor and a wide color palate to balance the visual action of political criticism and social malevolence that plagues the Americas. Works stemming from these artistic tethering between thresholds of historical relevance and pop references have been featured in museums in Mexico, Holland, Spain, Chile, United States, Ecuador, and others.
Cisco’s artistic career, spanning over 30 years, includes exhibitions in Paris, Miami, Edinburgh, Spain, Costa Rica, New York, and more. Private collections include prestigious collections in Mexico including The Jacques and Natasha Gelman Collection, Andres Blaisten Collection, and the Colección Fundación Cultural Televisa. other collections include Jimmie Durham Collection in Berlin, the Francesco Pellizzi Collection in New York, the Anthony Reynolds Gallery in London, and the Tom Patchett Collection in Los Angeles. His imagery is bold and daring, peeling back the layers of the human condition with points of sarcasm and discord are noted by multiple art critics, collectors, and patrons.
The opening reception for Cisco Jimenez: AnthroPOPology is set for Thursday, May 23, 2019 5:30pm - 8:00pm at Forma 110 located at 1824 Spring Street #109 Houston, TX. The exhibition runs through Sunday, June 23, 2019. Gallery hours are Saturday 11:00am - 2:00pm and by appointment by emailing email@example.com.
BRIEF ESSAY ON CISCO JIMENEZ
Many of his paintings which concern sex and/or the human condition are disquieting in their comic brutality. I think we should view these works not in a marginal way but rather as an invisible center – a subliminal center as that of advertising images – as its principal generator.
Advertising images of the simple and good life are horrible their function is to make us insecure, continually poor in relation to an unachievable standard of living but essential to our well being. And these images do not stop. Jimenez’ humoristic paintings finally burst, as the theater of cruelty. They remind us of Picasso’s Guerninca but taken to another logic. He is a witness without a court or jury to which to report – a Mexican sense of humor, not as cruel as Spanish humor (Cervantes) and not sentimental, except for it strange sense of attraction (which I would call “love”).
This humor colors his work and although it creates a distance between the work and the public, there exists a kind of solidarity between the artist and the viewer.
His work is a hybrid between painting and sculpture. The painting aspect tends to speak or argue with itself with areas of discord, transporting it forcefully to another area. In every way a dance succeeds it. Cisco makes the frames for his paintings (or I should say there are elements that pretend to be frames), in a similar way that his maps and plans for nuclear plants pretend to be representative of an official reality. These begin a new set of discussions and agreements that force painting to admit that it is an “object”. -Jimmie Durham
My work is fundamentally an inquiry into the contrasts of Latin American culture and society, from its pre-Hispanic origins to the complicated themes of politics, the economy, popular expressions and the creativity of survival. It also explores the tensions that exist between high art and popular art, folklore and mass culture, predatory politics and religious manipulation, and economic monopolies and the culture of drug trafficking.
These energies are the basis to articulate metaphors into a kind of the “ironic debris”, as ARTNEWS magazine described. The context for the gestation of the work is of crucial importance. One in which the anthropologic vision that precedes the aesthetic proposition and all its possible implications manifests itself in a variety of disciplines.
Another important aspect of the work is humor, from the most simple and superficial to the picaresque irony that reaches insolence. Humor and paradox are a constant in Latin American life as in the case of Mexico. With humor comes the political criticism and social rancor that become the binding element in my drawings, collages, paintings and objects.
ABOUT FORMA 110
Forma110 houses the consulting and organizational services for exhibitions. It is conceived as a space for artists and creative of diverse disciplines to give form - physically and symbolically - to their exhibitions projects.