ZsONA MACO. MEXICO ARTE CONTEMPORANEO Centro Banamex, Mexico City Hall D BOOTH G203 6 to 10 April 2011 Preview 06 April 1 to 3 pm Further enquiries

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1 ZsONA MACO. MEXICO ARTE CONTEMPORANEO Centro Banamex, Mexico City Hall D BOOTH G203 6 to 10 April 2011 Preview 06 April 1 to 3 pm Further enquiries to matthias@arndtberlin.com

2 POTSDAMER STRASSE 96 D BERLIN TEL FAX ZONA MACO 2011 MAIN SECTION BOOTH G 203 WILLIAM CORDOVA born in 1971 in Lima, Peru lives and works in Houston, Miami and New York William Cordovas sculptures, installations and works on paper are very much bound up with his transcultural biography that took him from Lima, Peru, where he was born, via Miami, Florida, to the many other places where he has lived or spent time in the US and Europe. His sujets are drawn from a continuum of radical movements and players in struggles for self-determination. Revealing the intersections between magical realism and social realism, he orchestrates collisions between ancient and recent histories, oral tradition and revolutionary texts to make way for an in-between, transitional, and ultimately transformative space. (Rashida Bumbray) CV William Cordova has earned his MFA from Yale University in 2004 and his BFA from The Art Institute of Chicago in In addition to staging solo exhibitions e.g. at the Fleming Museum, University of Vermont (2009), the P.S.1 Contemporary Art Center, New York (2005/06), and the Museum of Contemporary Art, Miami (2003), he has recently taken part in groundbreaking group exhibitions, such as NeoHooDoo, Menil Collection, Houston, Texas (2008), and Street Level, Nasher Museum at Duke University, Durham, North Carolina (2007). His works were presented in the San Juan Triennial, San Juan (2009), the Whitney Biennial, Whitney Museum of American Art, New York (2008), and the Biennale di Venezia (2003). In 2008 he was artist-in-residence at Artpace, San Antonio, Texas. In 2006 Arndt & Partner Berlin presented the first solo show of William Cordova in Germany.

3 WILLIAM CORDOVA beyond colonization (after bell hooks), acrylic, graphite, photo collage on gold leaf paper mounted on reclaimed paper 273,6 x 273,6 cm x in # CORD0178

4 WILLIAM CORDOVA Sacsayhuaman, 2008 Drawing and collage 135 x 283,5 cm x in # CORD0153 Exhibitions: 2008 The Fullness of Time Arndt & Partner Zürich

5 WILLIAM CORDOVA Casco, 2008 Mixed media 128 x 128 cm x in Foto: Todd Johnson Originally commissioned and produced by Artpace San Antonio # CORD0151 Exhibitions: 2008 Moby Dick (Tracy), Artpace, San Antonio

6 WILLIAM CORDOVA untitled (los olvidados), oil, photo collage on photo paper mounted on reclaimed canvas 55,88 x 76,2 cm 22 x 30 in # CORD0177

7 WILLIAM CORDOVA landscapes (tlatelolco), 2008 gold leaf paper on digital C-prints, custom framed, unique print each 25,4 x 40,64 cm 10 x 16 in # CORD0176

8 POTSDAMER STRASSE 96 D BERLIN TEL FAX ZONA MACO 2011 MAIN SECTION BOOTH G 203 THOMAS HIRSCHHORN born in 1957 in Bern, Switzerland, lives and works in Paris, France Thomas Hirschhorn is a Swiss artist who is known for his sprawling works that transform traditional white cube spaces into absorbing environments tackling issues of critical theory, global politics, and consumerism. He engages the viewer through superabundance. Combining found imagery and texts, bound up in low-tech constructions of cardboard, foil, and packing tape, he props imagistic assaults in a DIY-fashion that correlates to the intellectual scavenging and sensory overload designed to simulate our own process of grappling with the excess of information in daily life. Thomas Hirschhorn describes his sculptural environments as 'collages in the third dimension' and explains that this means 'putting things together that are not meant to be put together'. Created from the most basic everyday materials, his monumental works are concerned with issues of justice and injustice, power and powerlessness, and moral responsibility. CV Thomas Hirschhorn studied from at the Hochschule fuer Gestaltung in Zurich, Switzerland. His work has been the subject of numerous solo exhibitions including the Institute of Contemporary Art, Boston; Centre Georges Pompidou, Paris; Museu d'art Contemporani, Barcelona; Kunsthaus Zürich; Art Institute of Chicago; and Museum Ludwig, Cologne; and Secession, Vienna. In 2003 he founded the Musée Précaire Albinet, a temporary art and community space in Aubervilliers, France. Additionally, he has taken part in many international group exhibitions, including Documenta 11 in Kassel, Germany, where his large-scale public work, Bataille Monument, was on view; Heart of Darkness at the Walker Art Center; and recently Life on Mars: the 55th Carnegie International. Hirschhorn was the recipient of the Prix Marcel Duchamp in 2000 and the Joseph Beuys-Preis in His works are held in the collections of the Museum of Modern Art, the Walker Art Center, and the Tate. Thomas Hirschhorn will represent the Swiss Pavillon at this year s 54 th Venice Biennial.

9 ABOUT MY WORKS ON PAPER The series of works on paper that I have been doing for several years are collages. A collage is an interpretation, it s a true, real, entire interpretation. An interpretation that wants to create something new. Doing collages means to create a new world with existing elements of this world. Doing collages is unprofessional and it s just easy. Everyone has once in his life made a collage and everybody is included in a collage. Collages possess the power to implicate the other immediately. I like the capacity of non-exclusion of collages and I like the fact that they are always suspiscious and not taken seriously. Collages still resist consumption, even if - like everything - they have to fight against glamorousness and fashionability. I want to put together what cannot be put together, I think that s the aim of a collage and it s my mission as an artist. The images that I put together are printed matter that had another existence before : photos or advertisements - always printed - that I take from fashion and political magazines and images printed out from the internet, sometimes enlarged with photocopy. The blue scribbling (markers and ball-point pen) is the flood of tears, of sadness, the flood of the too much, it s the overflow, it is not blood, it s only blue, red, etc. color. I want to do a two-dimensional work that can be mentally deployed into a third dimension. I want to break the scale and I want to break the angles and the perspective. I want to put the whole world into my collages. I want to put everything in, the whole universum. I want to express the complexity and contradiction of the world into one single collage. I want to express the world that I am living in, not the whole world as entire world but as fragmented world. My collages are a commitment to the universality of the world. I am against particularism, against information, against communication, against facts and against opinion. The question is not who is the victim? who is guilty? nor what is it about? It s about the entire History and not just a single fact. With my work I want to reach, to touch History beyond the historical fact. The question is always : what is my position? The question is about myself, today. I want to confront the chaos, the uncomprehensibility and the unclarity of the world, not by bringing peace or quietness nor by working in a chaotic way, but by working in the chaos and in the unclarity of the world. I want to do something charged that reaches beauty in its density. I want to work in emergency, I want to do too much. The images that I use in a collage are an attempt to confront the violence of the world and my own violence. I am part of the world and all the violence of the world is my own violence, all the wounds of the world are my own wounds. All the hate is my own hate. I love Dada and the collages of the Dadaists, I love the beautiful collages of Johannes Baader and his «Grand-Plasto-Dio-Dada-Drama», it is an image that I always carry with me. I love John Heartfield and his work, he said use photography as a weapon!. I love to do collages, and I love to make this kind of work. Thomas Hirschhorn, June 2006

10 Serie des 36, elements, consisting of a plastic folder, paper, filing card, tape, printed material 133 x 215 cm x in # HIRS0547

11 Ohne Titel (Ingeborg Bachmann 1948/49), 1998 Collage made of wood, plastic foil marker, ballpoint, photo, elements of card, tape 36 x 27,5 x 2 cm x x 0.79 in # HIRS0039

12 Lay Out n 11, 1993 Cardboard, wood, tape, prints 280 x 230 cm x in # HIRS0071

13 Coins, 1989 wood, tape, marker 29,5 x 45 cm x in # HIRS0550

14 Untitled, 1990 wood, polaroids, tape 44 x 64,5 cm x in # HIRS0074

15 Untitled, 1990 Wood, tape, marker, polaroids 30 x 38 cm x in # HIRS0075

16 Untitled, 1990 cardboard, black marker, yellow sponges 53 x 50 cm x in # HIRS0091 Exhibitions: Palm Beach Insitute of Contemporary Art

17 Untitled, 1989 Isorel, tapes, black and red markers, prints 39 x 53 cm x in # HIRS0094

18 Untitled, 1990 Cardboard, tape, green marker 39 x 51 cm x in # HIRS0095

19 Merci, 1995 cardboard, prints, pen 31,5 x 27,5 cm 12.4 x in # HIRS0121 Exhibitions: ausgestellt am Palm Beach Insitute of Contemporfary Art

20 Coins, 1990 from the series: noir et blanc Grey paper, marker 69 x 85 cm x in # HIRS0440

21 Untitled, 1991 from the series: noir et blanc paper, printed material, marker, tape 28 x 42 cm x in # HIRS0442

22 Pleins, 1990 from the series: noir et blanc printed material, marker 29,5 x 22 cm x 8.66 in # HIRS0444

23 Utopia is not correct, Reality is not correct, 2006 from the series: Bullet Holes paper, prints, plastic foil, adhesive tape, marker, ballpoint 84 x 89 cm x in # HIRS0402

24 Cora, from the series: Bullet-Holes paper, prints, stickers, plastic foil, adhesive tape, marker, ballpoint 84 x 89 cm x in # HIRS0405

25 Inma, 2006 from the series: Bullet-Holes paper, prints, stickers, plastic foil, adhesive tape, marker, ballpoint 84 x 89 cm x in # HIRS0408

26 untitled, George Orwell, 1999 Collage and ballpoint pen, marker on paper, wrapped in foil 29,8 x 42,5 cm x in # HIRS0549

27 POTSDAMER STRASSE 96 D BERLIN TEL FAX ZONA MACO 2011 MAIN SECTION G 203 HIROSHI SUGITO born in 1970 in Nagoya, Japan; lives and works in Nagoya, Japan Tiny, stylized and sometimes vaguely discernible objects, such as mountaintops, waves, blossoms, and birds, as well as military airplanes, missiles, or fire, are hovering within vibrating fields of colour, which seem to expand into infinite space in Hiroshi Sugito's works. The transparent depth of the luminous spaces is achieved through a sophisticated and time consuming technique of applying numerous layers of acrylic paint and dry pigment. Floating within those painterly horizons, the figurative elements seem uneasily lost in time and space, thus avoiding any obvious narrative or anecdotal meaning. Rather they read as poetic ciphers for memories, thoughts, and sensations. Similar to Magic Realism, Sugito frees the material objects from their conventional meaning and then uses them as open pictorial signs for his fantastic and sometimes disquieting imaginary worlds. Recurring motifs in Sugito s paintings are curtains, referring to a predominant metaphor of Western painting. A variation of the window motif can be found in the fragile grids of horizontal and vertical lines, which run across the entire picture plane, resembling blinds. Viewed from a distance they read as geometric abstractions. Sugito intelligently plays with the opposite ompositional concerns of geometric abstraction and figuration, as well as with the tension between surface and spatial illusionism. CV Hiroshi Sugito graduated 1993 at Aichi Prefectural University of Arts and had a Residency in 1996 at Bemis Centre for Contemporary Arts - Alternative Worksite, Omaha, USA. He is regularly participating in important exhibitions including Asia (Gwangju Biennale, 2008; Museum of Contemporary Art, Tokyo, 1999), Europe (Go for it! Olbricht Collection (a sequel) Neues Museum Weserburg, Bremen, 2008; Imagination Becomes Reality III Sammlung Goetz, Munich, 2006; 8. Istanbul Biennale, 2003; Staatliche Kunsthalle Baden-Baden, 2000) and the United States (Walker Art Center, Minneapolis, 2001). His solo exhibitions include the Modern Art Museum Fort Worth, USA and numerous gallery exhibitions in Tokyo, London, New York, Sao Paulo and Berlin.

28 HIROSHI SUGITO the show, 1996 acrylic on canvas 289,9 x 405,7 cm x in # SUGI0110 Provenance: Philipps de Pury (Auktion, Mai 2005)