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Javier Hinojosa

Name: Javier Hinojosa Born: Mexico 1974
Address: Enriqueta Camarillo 39 E-mail:
col. Santa Maria la Ribera Web:
c.p. 06400, Mexico D.F.Solo Exhibitions:

Solo Exhibitions:
2016 Funcionalismo Tropical in Pop Up Summer Proyecto Paralelo. Mexico city
2014 Archipielago Funcionalismo tropical (archipelago: Tropical functionalism) Altiplano Gallery. Mexico City.
2013 Genealoga de una Demolicin (Genealogy of a Demolition). Curated by Daniel Garza-Usabiaga Museo Universitario del Chopo. Mexico City.
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.
Ephemeral Traps, Permanent Consequences I. Interventionsraum. Stuttgart Germany.
2008 Fuga en Transito (Flight in Transit): Curated by Itzel Vargas. Casa del Lago, Mexico City
2006 Concrete Skeleton: ART & IDEA, New York, NY, USA.
Cabinet vs. Showcase: Celda Contemporanea, Curated by Sol Henaro Mexico City. (project room)
2005 Evoluciones Callejeras (Street Evolutions): La Estacin Gallery. Chihuahua, Mexico.
2004 Intervenciones: CENART (National Arts Centre), Mexico City. (Site-specific Project)
2002 Limites y Restos (Limits and Remains): La Esmeralda Gallery Mexico City.

Group Exhibitions
2016 Tiempo Compartido Estudio 221. Mexico City.
2015 OBJECTSFOODROOMS Proyecto Paralelo gallery. Mexico City.
The Future is Unwritten / El futuro no est escrito Fundazione Cini. Venezia Italy
El derrumbe de la estatua: hacia una crtica del arte pblico (1952-2014) Galera Libertad Queretaro Mxico.
2014 El derrumbe de la estatua: hacia una crtica del arte pblico (1952-2014) Museo Universitario de Arte Contemporaneo MUAC. Mexico City
2013 Idiopolis at Remap 4. Curated by Stephan Klher Athens Greece.
About Ruptures, Discontinuities and Gaps. Altiplano Gallery Mexico City
Imaginary Archetypes. Abierto de Diseo. Mexico City
2012 AutokontrukSchn curated by Abraham Cruzvillegas. 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 City
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 City
Arbeit und Freizeit (2) - Fiesta y ensayo (leisure and Practice). Daniel Ktter director. Alterna y Corriente.
Mexico City.
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 City.
2007 Fuera de Contexto (out of context) Video program, Curated by Anala Solomonoff. Conejo Blanco, Mexico City.
Monterrey Biennale. Museo de San Ildefonso. Mexico City.
Correo Domestico (Domestic Mail). Silvina Arismendi Galerie NoD, Praga, Czech Republic.
Aequatortaufe: Kuntsarkaden. Munich, Germany.
Duelo de Parejas (Vs.): Curated by Mauricio Limon El ECO Museum, Mexico City. (Video Program)
Creacin en Movimiento. CNA, Mexico City.
2006 Creacin en Movimiento: IVEC, Veracruz, Mexico.
Archivo en proceso: San jernimo 40 Mexico City
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, City
Circo Renacimiento (Renaissance Circus). GLmutante. Campeche, Mexico.
2003 The one that moves wont appear in the picture. Centro de la Imagen. Mexico, City
GLMutante. Mexico, City
Inter-cities. Mexican Institute. Paris, France.
M.Bondarchuks Promotion and Defense Fraternity. ART &IDEA Gallery Mexico, City
2002 Farewell and Debut. National School of fine Arts Gallery Mexico, City
Grafinnova. Ostrobothnian Museum. Vassa. Finland.
2001 PADID collective grant exhibition, 2000- 2001. Central Gallery. CENART (national center of fine arts)
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. (Jurors mention) Merida Mexico.
2008 III Yucatn Biennale. Mrida Mxico.
VIII Monterrey FEMSA Biennale. Monterrey Mxico.
2004 II Yucatn Biennale. Mrida Mxico.

2012 a.i.r summer program. Centre for Contemporary Art Ujazdowski Castle
2012 Atelier Silex. Trois-Rivieres Quebec 2010 Baden-Wurttemberg/Akademie Schloss Solitude interchange program with Ekhaya Art centre, Kwa Mashu Natal, Durban
South Africa.
2009 Berlin Office. Berlin Germany
2008-9 Akademie Schloss Solitude. Residency program. Stuttgart Germany
2008 Micro Residencies Parasit(i)o. Galeria Parasito/Meet Factory, Prague, Czech Republic.

2014-2016 Sistema Nacional de Creadores de arte (SNCA) FONCA. Mxico.
2011-2013 Postgraduate studies Grant (UNAM) Mexico.
2005-2006 Jovenes Creadores (FONCA), 2005-2006. Mexico.
2004 Architectonic Interventions (CENART) Mexico.
2001 Research Support Program Scholarship (PADID) (CENART) Mexico.
2001 Jumex Foundation Grant, Atelier: Alternative Media, Centro de la Imagen, Mexico.

2011-2013 MFA Universidad Nacional Autonoma de Mxico UNAM
1997-2002 Fine Arts degree La Esmeralda (National School of Fine Arts). Mexico
2001-2002 Photography and Alternative Media (Seminar). Centro de la Imagen, Mexico.
1998 Deleuze and the Complex Thought (seminar), Research Tower (CENART) Mexico
1995-1997 Architecture Studies. Universidad Intercontinental. Mexico
ARCHIPELAGO: Meta-tepalcates
The temporary aberration in modern Mexican architecture

Meta-tepalcates is the third and last case of the ARCHIPIELAGO proj-

ect. It is based on a formal and conceptual analysis of the Anahuacalli
Museum built in Mexico City by Diego Rivera in collaboration with Juan
O Gorman and inaugurated in 1964. The sculptures focus on the hetero-
geneous character of the building: a piece of architecture that underlies
its development and planning in the hybridization of two historical epochs
of Mexican culture, on the one hand post-revolutionary modernity and its
strong international influence, and on the other, ancient Mexico, of which
we only have ruins and distort references.

The sculptures that belong to this third period of the Archipelago Proj-
ect, and which closes the third year of work of the (Sistema Nacional de
Creadores de Arte), analyze six specific cases of modern architecture in
Mexico City: The Insignia Tower of the housing complex Nonoalco-Tlatelol-
co by Mario Pani; The tower of the Normal School of the same architect;
The Casa Glvez by Luis Barragn; the Super Servicio Lomas de Vladimir
Kasp, the tower of rectory of the UNAM and the architectural project Jar-
dines del pedregal commanded by Max Cetto and Luis Barragan.
ARCHIPIELAGO: Celosa insular (Insular Lattice)
Proyecto Paralelo Gallery
November 2015

Insular lattice is the second case of the Archipelago project, this time Hi-
nojosa presents a series of sculptures based on a formal and conceptual
analysis of Luis Barragans house in Tacubaya neighborhood in Mexico
City. The sculptures focus on the hermetic character of the building which
is developed inwards following a principle of formal multiplication, in their
space openings: doors, windows, corridors, halls and rooms, the building
is capable of capturing outer space. Insular lattice focuses on the construc-
tive order and the emotional logic of Barragans architecture that achieves
accurately the characteristic chaos of nature.

The construction of the sculptures started with the modification of a preset

pattern found in two types of lattices typical of the Mexican vernacular ar-
chitecture. These ceramic bricks that form walls to produce homogeneous
visual rhythms and cadences, are altered to obtain forms that appear to
violate its orthogonal structure and stable logic. The result is a series of
objects that go beyond their functional origin as lattices, to attach a purely
sculptural field.
ARCHIPELAGO: Funcionalismo Tropical (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 Fri-
da 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 en-
gineering 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 Ri-
vera are two characteristics of buildings that move counter to what was
said by the author. In this sense, the project Tropical functionalism empha-
size 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.
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 ba-
sic 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), charac-
terized by its urban inequality and its fragile and unstable social structure.
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 ru-
ined 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 dis-
tribution to the public that visits the museum, the castle and its gardens.

Javier Hinojosa
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. Fu-
ture ruins and romantic ruins as Robert Smithson call them in his Pasaic
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 sur-
rounds 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 intend-
ed 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)

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 per-
manent 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

During my stay in Europe (2008-2010) mostly in Germany, I noticed an in-

credible 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

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
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 materi-

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
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 con-
crete until the structure reach the sealing.

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 at-
tached from the wall using the tension the mattress generates on it.

VIII Monterrey Biennale 2007


In Mexicos city peripheries some houses remain unfin-

ished 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 struc-
ture holds them against the column, it is a double force of tension, a precar-
ious 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, ev-
ery day the remains from it create huge mountains of garbage. I just picked-
up the cardboard boxes and place them in to the museum to intervene one
of its main elements. A 20 meters tall column.
Javier Hinojosa
Exteresa Arte Actual Mexico DF.
An old church column covered
with carboard boxes and tape
variable dimension

In the year 2003 the main VW factory, placed in Mexico, stopped the pro-
duction 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 cir-
culate 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