ARTPIL Profiles of the Arts
Cerith Wyn Evans / Museo Tamayo
Through May 6, 2018

Cerith Wyn Evans / Photo Agustín Garza

Museo Tamayo will present the first monographic exhibition of Cerith Wyn Evans in México, which will gather twelve pieces produced in the last ten years. From neon sculptures, kinetic and organic elements, sound pieces, and a series of Murano glass candlesticks, the exhibition seeks to trigger sensitive and temporary experiences in the viewer. Together, these elements will create an immersive environment to challenge the ideas of perception, cognition, subjectivity, and reality.

 

Cerith Wyn Evans, E=C=L=I=P=S=E, 2015 / Photo Nicolò Degiorgis

Cerith Wyn Evans / Photo Agustín Garza

Cerith Wyn Evans / Photo Agustín Garza

In his work, Wyn Evans creates moments of rupture within existing structures of communication, whether visual, audible or conceptual, using the ‘strategies of refraction, of juxtaposition, superimposition and contradiction, occluding and revealing’. Seeing the exhibition as an ‘experiment’ with fluid recourse to scores, maps, instructions and diagrams, he aims to question our notion of reality and cognition, perception and subjectivity, evoking new and unforeseen registers of perception.

 

Cerith Wyn Evans / Photo Agustín Garza

Cerith Wyn Evans / Photo Agustín Garza

For this exhibition at Museo Tamayo, Cerith Wyn Evans addresses the material and the immaterial through the transformative effects of light, sound and the phenomenological experience of space. Responding specifically to the architecture of the museum, the works act as catalysts, observing sight lines, creating ‘sound-lines’ traversing exhibition spaces, as if in dialogue or ‘in concert’ with each other. They create a transversal passage through different temporal episodes, evoking dimensions exploring intangible themes through a range of different media.

 

Cerith Wyn Evans / Photo Agustín Garza

Cerith Wyn Evans, Neon Forms (after Noh III), 2015 / Photo George Darrell, White Cube

Wyn Evans’ artistic practice examines the communication possibilities of ideas through shape. His work in installation, sculpture, photography, and text, among other media, with a highly sophisticated aesthetic, is influenced by cinema, music, literature, and philosophy, form where he takes sources and visual or textual ideas that are often repeated in his artworks. Additionally, he tries to break down the existing communication systems by subverting the shapes of some materials or by alternating the space-time coordinates.

 

Cerith Wyn Evans,  Photo Rebecca Fanuele / Photo Agustín Garza

Cerith Wyn Evans, S=U=T=R=A, 2017 / Photo Rebecca Fanuele

Cerith Wyn Evans (llanelli, United Kingdom, 1958) started his career as filmmaker by producing movies and collaborating in the projects of different authors. Since the 90’s, he has mainly produced pieces focused on language and perception, most of the times through specific location projects. He has had solo exhibitions at the Tate Britain, London, Haus Konstruktiv, Zurich, Museion Bolzano, Italy, and TBA-21 Augarten, Vienna, as well as in the Skulptur Projekte Münster, Germany, the 57th Venice Biennale, among other spaces.

 

Cerith Wyn Evans
Through May 6, 2018 / Museo Tamayo
For more information please visit the exhibition page >

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Cerith Wyn Evans / Museo Tamayo
Through May 6, 2018

Cerith Wyn Evans / Photo Agustín Garza

Museo Tamayo will present the first monographic exhibition of Cerith Wyn Evans in México, which will gather twelve pieces produced in the last ten years. From neon sculptures, kinetic and organic elements, sound pieces, and a series of Murano glass candlesticks, the exhibition seeks to trigger sensitive and temporary experiences in the viewer. Together, these elements will create an immersive environment to challenge the ideas of perception, cognition, subjectivity, and reality.

 

Cerith Wyn Evans, E=C=L=I=P=S=E, 2015 / Photo Nicolò Degiorgis

Cerith Wyn Evans / Photo Agustín Garza

Cerith Wyn Evans / Photo Agustín Garza

In his work, Wyn Evans creates moments of rupture within existing structures of communication, whether visual, audible or conceptual, using the ‘strategies of refraction, of juxtaposition, superimposition and contradiction, occluding and revealing’. Seeing the exhibition as an ‘experiment’ with fluid recourse to scores, maps, instructions and diagrams, he aims to question our notion of reality and cognition, perception and subjectivity, evoking new and unforeseen registers of perception.

 

Cerith Wyn Evans / Photo Agustín Garza

Cerith Wyn Evans / Photo Agustín Garza

For this exhibition at Museo Tamayo, Cerith Wyn Evans addresses the material and the immaterial through the transformative effects of light, sound and the phenomenological experience of space. Responding specifically to the architecture of the museum, the works act as catalysts, observing sight lines, creating ‘sound-lines’ traversing exhibition spaces, as if in dialogue or ‘in concert’ with each other. They create a transversal passage through different temporal episodes, evoking dimensions exploring intangible themes through a range of different media.

 

Cerith Wyn Evans / Photo Agustín Garza

Cerith Wyn Evans, Neon Forms (after Noh III), 2015 / Photo George Darrell, White Cube

Wyn Evans’ artistic practice examines the communication possibilities of ideas through shape. His work in installation, sculpture, photography, and text, among other media, with a highly sophisticated aesthetic, is influenced by cinema, music, literature, and philosophy, form where he takes sources and visual or textual ideas that are often repeated in his artworks. Additionally, he tries to break down the existing communication systems by subverting the shapes of some materials or by alternating the space-time coordinates.

 

Cerith Wyn Evans,  Photo Rebecca Fanuele / Photo Agustín Garza

Cerith Wyn Evans, S=U=T=R=A, 2017 / Photo Rebecca Fanuele

Cerith Wyn Evans (llanelli, United Kingdom, 1958) started his career as filmmaker by producing movies and collaborating in the projects of different authors. Since the 90’s, he has mainly produced pieces focused on language and perception, most of the times through specific location projects. He has had solo exhibitions at the Tate Britain, London, Haus Konstruktiv, Zurich, Museion Bolzano, Italy, and TBA-21 Augarten, Vienna, as well as in the Skulptur Projekte Münster, Germany, the 57th Venice Biennale, among other spaces.

 

Cerith Wyn Evans
Through May 6, 2018 / Museo Tamayo
For more information please visit the exhibition page >