Pedro Reyes, Totem (Huehueteotl), 2021 / Courtesy Lisson Gallery
from wikipedia
Pedro Reyes
Artist

Pedro Reyes (Mexico City, 1972) lives and works in Mexico City. He has established himself internationally with his large-scale projects that address social and political issues through different media such as sculpture, performance, video, and activism. Reyes explores, often in collaboration with associations and institutions, the ways in which change can be encouraged through communication, creativity, happiness, and humor. In recent years Reyes has dedicated himself to sculpture, with works in volcanic stone, marble, bronze and steel, that look at modernism and ancient South American cultures in a variety ranging from the intimate to the monumental, from the ancient to the modern, from the sacred to functional.

He has had solo shows in MARTa Herford, Herford, Germany (2022); Museum of Contemporary Art of Monterrey, Monterrey, Mexico (2022); Museum Tinguely, Basel, Switzerland (2020); SCAD, Georgia, USA (2019); Creative Time, New York, USA (2016); Dallas Contemporary, TX, USA (2016); La Tallera, Cuernavaca, Mexico (2016); Hammer Museum, Los Angeles, CA, USA (2015); ICA, Miami, FL, USA (2014); The Power Plant, Toronto, Canada (2014); Walker Art Center, Minneapolis, MN, USA (2011); Guggenheim Museum, New York, NY, USA (2011); CCA Kitakyushu, Japan (2009); Bass Museum, Miami, FL, USA (2008;) and San Francisco Art Institute, CA, USA (2008). He has also taken part in numerous group exhibitions including Beijing Biennale, China (2014); dOCUMENTA (13), Kassel, Germany (2012); Liverpool Biennial, UK (2012); Gwangju Biennial, South Korea (2012); Lyon Biennale, France (2009); and the Venice Biennale (2003). In 2016 he was the first Dasha Zhukova Distinguished Visiting Artist at the MIT Center for Art, Science & Technology (CAST) of the Massachusetts Institute of Technology in Cambridge, Massachusetts.

[Museo Nivola]

Pedro Reyes
Artist

Pedro Reyes (Mexico City, 1972) lives and works in Mexico City. He has established himself internationally with his large-scale projects that address social and political issues through different media such as sculpture, performance, video, and activism. Reyes explores, often in collaboration with associations and institutions, the ways in which change can be encouraged through communication, creativity, happiness, and humor. In recent years Reyes has dedicated himself to sculpture, with works in volcanic stone, marble, bronze and steel, that look at modernism and ancient South American cultures in a variety ranging from the intimate to the monumental, from the ancient to the modern, from the sacred to functional.

He has had solo shows in MARTa Herford, Herford, Germany (2022); Museum of Contemporary Art of Monterrey, Monterrey, Mexico (2022); Museum Tinguely, Basel, Switzerland (2020); SCAD, Georgia, USA (2019); Creative Time, New York, USA (2016); Dallas Contemporary, TX, USA (2016); La Tallera, Cuernavaca, Mexico (2016); Hammer Museum, Los Angeles, CA, USA (2015); ICA, Miami, FL, USA (2014); The Power Plant, Toronto, Canada (2014); Walker Art Center, Minneapolis, MN, USA (2011); Guggenheim Museum, New York, NY, USA (2011); CCA Kitakyushu, Japan (2009); Bass Museum, Miami, FL, USA (2008;) and San Francisco Art Institute, CA, USA (2008). He has also taken part in numerous group exhibitions including Beijing Biennale, China (2014); dOCUMENTA (13), Kassel, Germany (2012); Liverpool Biennial, UK (2012); Gwangju Biennial, South Korea (2012); Lyon Biennale, France (2009); and the Venice Biennale (2003). In 2016 he was the first Dasha Zhukova Distinguished Visiting Artist at the MIT Center for Art, Science & Technology (CAST) of the Massachusetts Institute of Technology in Cambridge, Massachusetts.

[Museo Nivola]

Pedro Reyes, Totem (Huehueteotl), 2021 / Courtesy Lisson Gallery
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    Nov 9, 2023 – Mar 31, 2024
    Mystetskyi Arsenal
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    In October 2022, Russia began to systemically target the objects of the Ukrainian critical infrastructure, disrupting the supply of electricity, water, heat, and telecommunication. Missiles and UAV strikes led to the introduction of rolling blackouts, causing cities and villages to be periodically engulfed in darkness. ‘Energy terrorism’ tactics aimed to disrupt Ukraine’s ‘mental infrastructure’: to break people’s faith in their own strength and their trust in government. (more…)
  • Adrián Balseca: Routing Rubber
    Jan 19 – Mar 30, 2024
    Canal Projects
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    ROUTING RUBBER (January 19th – March 30th, 2024), showcases Ecuadorian artist Adrián Balseca’s (Quito, b. 1989) research on the plantation rubber industry in the Amazon. Produced on black and white, 16mm film, The Skin of Labour (2016) and its accompanying archive, provide a historical revision of the Amazon’s rubber boom, which saw its highest production from the years 1879 to 1912. Through the project, Balseca challenges the idea of the Amazon as a natural horizon, centering this territory as the origin of industrial modernity. (more…)