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Javier Hinojosa

PORTFOLIO

Name:

Javier Hinojosa
Born: Mexico 1974
E-mail:
javierhache@gmail.com
Lives and work in Mexico City
Web: www.hinojosajavier.blogspot.com
Solo Exhibitions:
2014 Archipielago Funcionalismo tropical (archipelago: Tropical functionalism) Altiplano Gallery. Mexico DF.
2013 Genealogy of a Demolition. Curated by Daniel Garza-Usabiaga Museo Universitario del Chopo. Mexico DF.
2011
Strained Human Factors. Heike Strelow Galerie. Frankfurt Germany.
2010 Notes for a Collapsing City. Curated by Stephan Klher. Aritude Kunstverein. Berlin Germany.
2009 Ephemeral Traps, Permanent Consequences II. Taken for Stranger. Berlin Germany.
2009 Ephemeral Traps, Permanent Consequences I. Interventionsraum. Stuttgart Germany.
2008 Fuga en Transito (Flight in Transit): Curated by Itzel Vargas. Casa del Lago, Mexico DF.
2006 Concrete Skeleton: ART & IDEA, New York, NY, USA.
2006 Cabinet vs. Showcase: Celda Contemporanea, Curated by Sol Henaro Mexico DF. (project room)
2005 Evoluciones Callejeras (Street Evolutions): La Estacin Gallery. Chihuahua, Mexico.
2004 Intervenciones: CENART (National Arts Centre), Mexico DF. (Site specific Project)
2002 Limites y Restos (Limits and Remains): La Esmeralda Gallery Mexico DF.
Group Exhibitions (Selected):
2014 El derrumbe de la estatua: hacia una crtica del arte pblico (1952-2014) Museo Universitario de Arte Contemporaneo MUAC. Mexico DF.
2013 Idiopolis at Remap 4. Curated by Stephan Klher Athens Greece.

About Ruptures, Discontinuities and Gaps. Altiplano Gallery Mexico DF.

Imaginary Archetypes. Abierto de Diseo. Mexico DF
2012 AutokontrukSchn curated byAbrahamCruzvillegas. Arratia-Beer Galerie Berlin Gemany

Biennale Nationale de Sculpture Contemporaine. Curated by Lynda Baril. Trois-Rivieres Quebec

Genealogy of a Demolition. Centre for Contemporary Art Ujazdowski Castle. Warsaw Poland
2011
Ephemeral Traps, Permanent Consequences III. SLICA. Johannesburg, South Africa.
2010 Latitude. Public interventions. Curated by Gustavo Becerril Mexico DF.

Another Country. Curated by Ovul Durmusoglu IFA Gallery.. Berlin Germany

Another Country. Ovul Durmusoglu IFA Gallery. Stuttgart Germany
2009 Home made, Curated by Osvaldo Sanchez. Modern Art Museum. Mexico DF.

Arbeit und Freizeit (2) - Fiesta y ensayo (leisure and Practice). Daniel Ktter director. Alterna y Corriente.

Mexico DF.

Arbeit und Freizeit - Fiesta y ensayo (leisure and Practice). Daniel Ktter director Museo de la Ciudad.

Queretaro Mexico.

Ephemeral Traps, Permanent Consequences. Schloss Solitude Akademie, Stuttgart Germany.
2008 Basiselemente: The Box: Schloss Solitude Akademie, Stuttgart, Germany.
Basiselemente:The Beam: Micro Residencias Parasito. Curated by Silvina Arismendi. Meet Factory, Prague,
Czech Republic.
Casino Metropolitano 2 years. Mexico DF.

Duelo de Parejas (Vs.): Curated by Mauricio Limon El ECO Museum, Mexico DF. (Video Program)

2007


Fuera de Contexto (out of context) Video program, Curated by Anala Solomonoff. Conejo Blanco, Mexico DF.
Monterrey Biennale. Museo de San Ildefonso. Mexico DF.
Correo Domestico (Domestic Mail). Silvina Arismendi Galerie NoD, Praga, Czech Republic.
Aequatortaufe: Kuntsarkaden. Munich, Germany.
Creacin en Movimiento. CNA, Mexico DF.
2006 Creacin en Movimiento: IVEC, Veracruz, Mexico.

Archivo en proceso: San jernimo 40 Mexico D.F.

Deposiciones slidas: Casa Emergente, Cuernavaca Morelos, Mexico.
2005 Dinero (Cash). Ex Teresa Actual Art, Mexico D.F.

Declaraciones Curated by Guillermo Santamarina. Reina Sofa,Video program: Madrid, Spain.
2004 Harto Espacio: Curated by Silvina Arismendi. Montevideo, Uruguay.

Mexican Emergent Artists. Curated by Haydee Rovirosa. Raid Projets. Los Angeles, U.S.A.

El sueo de la Campamocha (Campamochas Dream): ART & IDEA. Mexico, D.F.

Circo Renacimiento (Renaissance Circus). GLmutante. Campeche, Mexico.
2003 T he one that moves wont appear in the picture. Centro de la Imagen. Mexico, D.F.

GLMutante. Mexico, D.F.

Inter-cities. Mexican Institute. Paris, France.

M.Bondarchuks Promotion and Defense Fraternity. ART &IDEA Gallery Mexico, D.F
2002 Farewell and Debut. National School of fine Arts Gallery Mexico, D.F.
Grafinnova. Ostrobothnian Museum. Vassa. Finland.
2001 PADID collective grant exhibition, 2000- 2001. Central Gallery. CENART (national center of fine arts)
Biennales:
2013 remap 4 Athens Greece
2012 Biennale Nationale de Sculpture Contemporaine. Trois-Rivieres Quebec
2010 II Moscow young biennale. Moscow Russia
2009 IV Yucatn Biennale. Mrida Mxico.
2008 III Yucatn Biennale. Mrida Mxico.

VIII Monterrey FEMSA Biennale. Monterrey Mxico.
2004 II Yucatn Biennale. Mrida Mxico.
Residencies:
2012
2012
2009
2008-9
2008

a.i.r summer program. Centre for Contemporary Art Ujazdowski Castle


Atelier Silex. Trois-Rivieres Quebec
Berlin Office. Berlin Germany
Akademie Schloss Solitude. Residency program. Stuttgart Germany
Micro Residencies Parasit(i)o. Galeria Parasito/Meet Factory, Prague, Czech Republic.

Studies:
2011-2013 MFA Universidad Nacional Autonoma de Mxico UNAM
2001-2002 Photography and Alternative Media (Seminar). Centro de la Imagen, Mexico.
1997-2002 Fine Arts degree with honors at La Esmeralda (National School of Fine Arts). Mexico
1998
Deleuze and the Complex Thought (seminar), Research Tower (National Center of Fine Arts) Mexico
1995 Architecture Studies. (unfinished) Universidad Intercontinental. Mexico
Grants:
2014-2016
2010
2005-2006
2004
2001
2001

Sistema Nacional de Creadores de arte (SNCA) FONCA. Mxico.


Baden-Wurttemberg/Akademie Schloss Solitude interchange program with Ekhaya Art centre, Kwa Mashu Natal, Durban South Africa.
Young artist National Grant (FONCA), 2005-2006. Mexico.
Architectonic Interventions in the National Fine Arts Center, CENART, Mexico.
Teaching Support Program Scholarship (PADID), Mexico.
Jumex Foundation Grant, Atelier: Alternative Media, Centro de la Imagen, Mexico.

Statement
My practice begins with the act of walking the city as a research method, carrying always a camera with me I focus
in the registration of emerging constructive situations, in the remains of urban activity, in the different ways nature of
street objects and its materials create different alliances among them: an improvised chair between two trees for the
unemployed who has to spend the day in a busy corner, left over carry boxes in the middle of the side walk, bizarre
agreements among buckets, tree branches, and concrete to keep available a parking place, piled up cement blocks
from an abandoned construction site appear as crucial details when the concept of a city becomes, in its everyday
peculiarities, in its inner molecules, a bigger multiplicity a global reality.
In my work the public space is captured and reinterpreted in its emerging programs in the new functionalities of its
objects and constructions. Improvisation together with a dislocated functionality is for me the formal paradigm of the
city now in days. An increasing shape out of control that embodies all the contents we generate in our everyday life
inside the city.
The photographic material I get as a result of this walking research generates a sort of urban topography based on its
public space ambiguities. And it works as the departure point of a bigger sculptural research in which I put in practice
some of the formal (constructive) solutions I found in the streets driving them in to their functional limits in the intent
of making visible its constructive precariousness, the fragility of their stability, the state of permanent arborescence in
which they remain.
Javier Hinojosa

WORK

ARCHIPELAGO: Tropical functionalism


Altiplano Gallery September 2014
In Tropical functionalism, Javier Hinojosa presents a series of sculptures
and drawings based on functionalist Juan OGorman constructions, built
between 1929 and 1932. The specific cases that Hinojosa analyzed are:
Jauan OGorman house (1929) and home-study for Diego Rivera and Frida Kahlo (1932) - neighboring buildings, located in San Angel, which are
considered among the first constructions of modern architecture in the
country. OGorman always referred to these houses as examples of engineering rather than architecture buildings because construction did not
pursue aesthetic purposes but purely functional. This assertion, however,
has always been controversial. The application of color on the concrete
surface by the architect and the use of sawtooth roof on the study of Rivera are two characteristics of buildings that move counter to what was
said by the author. In this sense, the project Tropical functionalism emphasize the sculptural character of the residences, analyzing the volumes, the
transparency and gravity, as well as certain formal matters as the use of
sawtooth roof, color application and the prominence of its elaborate stairs.

GENEALOGY OF A DEMOLITION
Museo universitario del Chopo April 2013
In Genealogy of a Demolition the artist use the brick as the starting point
to produce 5 different sculptural practices. Even when the brick is the basic form to start any kind of construction Hinojosas analysis starts from
its ruined condition, as a remain from a demolished construction or as a
removed part from a structure by the action of time or natural erosion. As
it is common in Hinojosas production, these sculptures show a precarious
equilibrium. This condition -which certainly alludes to the precarious street
constructions and objects found in different parts of the city, and which
is the base of the artist analysis- can work, itself, as a representation of
an entire Economic and social system. This system is typical of the great
cities of the emerging nations in global economy (as Mexico City), characterized by its urban inequality and its fragile and unstable social structure.

GENEALOGY OF A DEMOLITION
Appendix one: Ujazdowsky Castle Ephemeral Constellations Ujazdowsky
Contemporary art Museum August 2012
For the A.I.R. site-specific project I worked on three sculptural exercises, which
point, at ephemeral constellations that remain from the construction, demolition,
reconstruction and restoration of the Ujazdowski Castle and its surrounding areas.
The first one is a direct intervention over a set of old stones that remain abandoned
in the castle gardens with no specific propose or functionality. This stones exist
in a strange boundary between being junk material or precious objects from an
undefined past. My intervention intends to point at this absurd way of existence.
The second exercise takes place inside the old cistern of the castle, which itself
was reconstructed as a work of art by Tadashi Kawamata in the year 2000. The
cistern appears, inside the context of the castle, as the typical romantic ruin that
has being recovered from the past and shown as a monument in the present. It is
difficult though to figure out what exactly this ruin commemorates. In the interior of
this amazing site I place in balance a series of small sculptures made of find and
abandoned bricks around the castle area, trying to follow the temporal ambiguity
this place generates, this little pieces commemorate its simple existence and ruined state.
The third exercise is a documentation of the so-called ephemeral constellations
that I find all over the place, different kind of stones and bricks scattered in strange
associations. These images were presented in a form of post cards for its free distribution to the public that visits the museum, the castle and its gardens.
Javier Hinojosa
July-August
2012

Espectaculares Ensimismados (Lost in thought Billboards)


There is only one function for the Iron structures that hold billboards in the
city: to transmit a visual message. Never the less it is common to find them
completely empty or with a printed phone number. But What happens when
these elements transmit no message at all? When they remain abandoned
and out of its functionality? The structure losses its peculiarity when it has
no content and becomes a generic element inside the city. This structure
becomes close in its repetition and variations to the construction sites and
the ruined buildings in which the direction of time remains undefined. Future ruins and romantic ruins as Robert Smithson call them in his Pasaic
monuments.
In between this two ruin types and its timeless gradient, the billboards
emerge as an ambiguous mark in the urban landscape, as a symptom of
emptiness and shortage, useless constructions placed randomly in the
heights fighting the winds. Espectaculares Ensimismados (Lost in thought
billboards) is a monument to commemorate this timeless emptiness.
Plaza Rio de Janeiro
Mexico DF 2010

Dealing with Fear


In the framework of the exhibition Dealing With Fear that took place in the
Akademie Schloss Solitude. I build a trap in the middle of the main corridor
using local materials from the forest and the constructions sites that surrounds the castle.
Akademie Schloss Solitude 2009

Notes for a Collapsing City


This installation is an extension of the action-piece called bucket column
(2007) in this occasion the exercise of filling a bucket with concrete intended to fill as well the entire space of the gallery with precarious balanced
structures. The installation included two new variations of the piece called
Column V1 (2008)
Senatsreservenspeicher
Berlin 2010

Ephemeral traps permanent consequences (Series)


This series of installations emerge from the observation of the way side
walks are repaired in Mexico city, generally we can find fresh concrete at
the middle of a side walk with no warning sign only the wooden mold that
holds the material, the structure becomes a trap, some times there is no
more choice but to round the entire block to keep going. Street dogs, night
walkers and some people who wants to leave a mark dont care that much
about crossing through. Mexicos sidewalks become concrete slabs of permanent footprints and strange messages for the posterity. In this case my
idea was to recreate this situation inside of a gallery space, blocking some
important passage to the WC or to get some beer, forcing people to cross
over the fresh material.
Akademie Schloss Solitude Stuttgart 2009
Taken for Stranger Berlin 2009
Intervetionsraum Stuttgart 2009

Boxologie
During my stay in Europe (2008-2010) mostly in Germany, I noticed an incredible increasing amount of official warning signs in public spaces. There
was always a new detail to be aware of in a subway corridor or in a public
plaza. In Mexico happens almost the opposite situation, civilians using any
kind of material like cardboard boxes generally improvise warning signs to
point at any danger or problematic situation in the public space.
My idea with this sculpture was to put together these two tendencies. A
paranoid reinforcement for a fragile object that is itself capable to act as a
warning sign in my home town.
Akademie Schloss Solitude
2008

Boxologie (action)
In this action I wanted to generate the opposite situation from the sculpture
Boxologie i.e. a real collapse. I used three cardboard boxes two of them
reinforced with gaffer tape, and a last one with no reinforcement at all. This
box collapsed and the two remaining ones captured in stone the tension
that existed on them during the process.
Alterna y Corriente
Mexico DF
2009
Arratia Beer
Berlin 2012

The Beam
To hold in balance this 6 meters pieceof wood I used a very simple crowbar
principle, a lever that holds three packs of foam for isolation in one extreme
and a block of concrete in the other. The Block of about 300 kilos wasnt
enough to balance the structure; three packs of cement were added over it
to get the equilibrium. No more that one-kilo of difference between materials.
MeetFactory
Prage 2008

Fuga en Transito (Flight in Transit)


This exhibition based all its constructive strategies in the three columns that
characterize the main room of Casa del Lago gallery. The idea was to make
an installation that were capable to hold it self from this structures only by
tension.
In the second room of this gallery there is no column at all so I decide to
build one using the same tension principles. For the construction of Column
V1 I use 4 car jacks to hold in tension the own column wooden mold and
the cast that just made, to complete the structure. I wanted to include the
makeshift way of street improvisation as part of a finished structure.
Casa del Lago Juan Jos Arreola
Mexico DF 2008

Bucket Column
This is an action piece; the idea is to build a column out of street buckets.
The action of turn over and over again a bucket completely filled with concrete until the structure reach the sealing.
CENART
Mexico DF 2007

Projected Wall
A concrete frame was hanged 3 meters from the wall with a tension system
based on the power of a folded mattress. The metal structure remains attached from the wall using the tension the mattress generates on it.
VIII Monterrey Biennale 2007

Becks
In Mexicos city peripheries some houses remain unfinished for an undetermined lapse of time. In the hope of
building a second floor for the house the iron ribs remain
exposed and to protect them from eventual rusting or even
against thunders it is common to put bottles on them. All
the Becks I had building this piece. NY 2006

Mattress Strain
In this sculpture the same principle is applied, never the less the object
works in a very different way. Holding in tension a 500 kilos concrete frame
the mattress stays in balance on the floor.
Germany 2011
Mexico DF. 2009

Tire Strain
The strain series are based in the way tension works using objects out of its
original function. How does an object behave in an extreme circumstance?
In this case a dozen of tires are pressed against a column by a 3 meters
concrete frame, the tires hold the weigh at the same time the cement structure holds them against the column, it is a double force of tension, a precarious way to put in balance two different materials.

Cardboard covered Column


Ex Teresa museum is a XVII century church located in the heart of Mexico
Citys down town in which we have an intense commercial interchange, every day the remains from it create huge mountains of garbage. I just pickedup the cardboard boxes and place them in to the museum to intervene one
of its main elements. A 20 meters tall column.

Javier Hinojosa
Column
Exteresa Arte Actual Mexico DF.
2005
An old church column covered
with carboard boxes and tape
variable dimension

Skeleton
In the year 2003 the main VW factory, placed in Mexico, stopped the production of its classic model the beetle. The compact was the most present
car in the streets of the city by then. A couple of years before the Mexican
government started a huge reconfiguration of the city constructing bridges
and second floors in the main avenues in order to allow more cars to circulate them, the entire city became a construction site, the wooden molds
for casting concrete appear then as one of the main components of the city
landscape. In this piece mi intention was to confront this two elements and
moments: The extinguishing car and the construction system for the future
city.

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