Raúl Ortega Ayala
Raúl Ortega Ayala

Raúl Ortega Ayala (1973, Mexico City) lives and works between New Zealand and Mexico City. Initially trained as a painter, Ayala’s artistic practice follows an immersion into foreign worlds and disciplines for extended periods of time. Oscillating between a distant observer, an active participant and critic, Ortega Ayala has employed ethnographic methodologies like participant observation, embodiment of knowledge and fieldwork to actively immerse himself into his selected topics. Critical to his practice is a collection process in which he gathers materials and experiences to use in the production of different bodies of work that have explored the office world, the world of plants, natural cycles and sustainability and an exploration of the world of food beyond its bodily sustenance. He uses a variety of mediums in his work which amongst others include film, painting, photography, sculpture, performance and happenings. His recent oeuvre explores the phenomena of collective memory and social amnesia.

De la serie From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 18-06-19 – 0089 (Church) en colaboración con Peter Miles

Pigment inks on Gold Fibre Silk paper

42 x 59.4 cm

From the series From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 20-06-19 – 0331 (Silver Cats Bar) In collaboration with Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

De la serie From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 21-06-19 – 7494 (Air Studios) en colaboración con Peter Miles

Pigment inks on Gold Fibre Silk paper

42 x 59.4 cm

De la serie From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 04-12-18 – 6738 (Silver Cats Bar) en colaboración con Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

From the series From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 22-06-19 – 7570 (Air Studios) In collaboration with Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

From the series From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 22-06-19 – 7572 (Air Studios) In collaboration with Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

From the series From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 24-04-17 – 8888 (Plymouth) In collaboration with Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

De la serie From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 24-04-17 – 8928 (Plymouth) en colaboración con Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

De la serie From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 24-04-17 – 8983 (Pentecostal Church, Plymouth) en colaboración con Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

From the series From the Pit of Et Cetera Montserrat (a phono-archaeology) Fieldnote 18-06-19 – 0022 (Church organ, Plymouth) In collaboration with Peter Miles

Pigment ink on Gold Fibre Silk paper

42 x 59.4 cm

Four Figures at a Table (After The Le Nain Brothers)

from the series From the Pit of Et Cetera

UV screen paint and oil on wood

27.95 x 23.82 x 2.58 in

View in Pickersgill Harbour, Dusky Bay, New Zealand (After William Hodges)

from the series From the Pit of Et Cetera

UV screen paint and oil on wood

34.45 x 37.28 x 3.35 in

Still Life with Meadow Flowers and Roses (After Vincent van Gogh)

from the series From the Pit of Et Cetera

UV screen paint and oil on wood

46.46 x 38.7 x 3.35 in

Field note 24-03-14 (Pripyat, Chernobyl)

from the series From the Pit of Et Cetera

C-print

21.73 x 32.17 x 1.5 in

Field note 04-24-14-1 (World Map, Pripyat, Chernobyl)

from the series From the Pit of Et Cetera

C-print

47.24 x 70.87 in

Babel Fat Tower

from the series Food for Thought

Fat, bones, table, lights and carved wood and polymer study

Variable dimensions

Melting Pots (a Fiction Based on Facts)

from the series Food for Thought

Installation with found documentation: video, food, archive images, kitchenware, wood table, map

Variable dimensions

Field note 27-07-10-1 V I (Stuffed Pig)

from the series Food for Thought

Mixed media, acrylic and oil on canvas on wood

11.97 x 9.06 x .87 in

Field note 27-07-10-4 V II (Banana)

from the series Food for Thought

Mixed media, acrylic and oil on canvas on wood

20.47 x 16.3 x 1.38 in

Field note 27-07-10-2 V III (Stuffed Duck)

from the series Food for Thought

Mixed media, acrylic and oil on canvas on wood

11.42 x 14.37 x 1.38 in

36 Dispersed Plant Images from a Found Botanical Book

from the series An Ethnography on Gardening

Paper, black velvet and frames

81.5 x 114.65 x 1.38 in

The Scent of an Imaginary Flower

from the series An Ethnography on Gardening

Designed scent on embossed paper

1.97 x 3.54 in

Julius Heinemann
Julius Heinemann

Julius Heinemann centra su práctica en el estudio de los diferentes modos de percepción, entendidos como pieza clave en las relaciones del individuo con lo otro –un “otro” que puede ser denominado realidad, sociedad, mundo, etc. Así, en su investigación analiza cómo formamos “imágenes” a través de la percepción –fragmentos de información del exterior que actualizamos continuamente– con las que cada uno de nosotros, en tanto seres individuales, puede lidiar con conceptos como tiempo y espacio, centrales en la articulación de esas relaciones sensoriales.

A través de su cuerpo de trabajo indaga formalmente en los modos preconcebidos con los que se interpretan valores abstractos: forma, escala, color, silueta… para redefinir desde ellos estrategias que, desde la subjetividad, entiendan nuestra relación con el tiempo y en el espacio con otros patrones, y así desarrollar un archivo de imágenes personales.

La suma de sus dibujos, pinturas, instalaciones, libros y otros medios con los que el artista trabaja, así como las colaboraciones con otros artistas, trazan un vocabulario que le permite adquirir nuevas capacidades con las que afrontar la inestabilidad y el flujo continuo de la contemporaneidad, ese constante devenir, aprehendiendo otra temporalidad y espacialidad.

De este modo, sus obras se convierten en base para la búsqueda de un pensamiento fuera de las ideas normativas establecidas en todo campo de conocimiento, y que reverberan en la concepción de la historia, la ciencia o la política. Su permanente actitud de cuestionamiento sobre lo que vemos físicamente, se plantea como una herramienta de pensamiento y sentimiento, como una alternativa para imaginar la posibilidad de una actitud colectiva compuesta por nociones libres individuales.

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