Luisa Strina is pleased to announce the second solo show of Mexican artist Pedro Reyes.
Pedro Reyes manages to blend the realms of utopia and function, individual fantasies and collective aspirations by mastering form within an expanded notion of sculpture. An architect by training, his work is infused with symbolic as well as physical schemes to enhance human communication and creativity. He explores the ways in which a space allows individual moments of liberation or activate the interaction between a group of people in order to release creativity from ordinary limitations.
For his exhibition at Galeria Luisa Strina Reyes will present an unseen series of sculptures in stone, concrete, bronze, and forged iron. Although techniques such as direct carving in stone have virtually disappeared from contemporary practice, it has been Reyes’ interest to reconnect with the long tradition of sculpture across time and geographies.
The Litophones are monolithic blocks of black marble with parallel cuts of different lengths and depths resulting in objects that produce different musical notes when struck. In these works, volumetry is not only a visual presence but an acoustic and participatory one, as they require the intervention of a musician or a participant to be fully activated and experienced.
Spiral Nude explores the reclined figure, a central theme in 20th century sculpture. Henry Moore was particularly interested in the Chac-mool (A pre-Columbian Mesoamerican figure leaning on its elbows, with his head turning sideways and a bowl resting on its lap) to elaborate much of his reclined figures; showing that major transformations in Modern sculpture were inspired in Archaic statuary.
Recent solo shows include: “Doomocracy – House of Political Horrors”, Creative Time, New York (2016); “Domingo Salvaje”, La Tallera / Sala de Arte Público Siqueiros, Cuernavaca (2016); Dallas Contemporary, Dallas (USA); “pUN: The People’s United Nations”, Hammer Museum, Los Angeles (2015)”; “Sanatorium”, The Power Plant, Toronto (2014), Whitechapel Gallery, London (2013) and Solomon R. Guggenheim Museum, New York (2011); “The Permanent Revolution”, Jumex Museum, Mexico City (2014); “Pharmasphere”, Boston Museum of Fine Arts (2013); “Os Terráqueos”, Galeria Luisa Strina, São Paulo (2013); “Baby Marx”, Walker Art Center, Minneapolis (2011).
Recent group shows include: Paiz Art Biennial, Guatemala City (2016); “The Revolution will not be gray”, Aspen Art Museum, Aspen (2016); “Hors Pistes”, Centre Pompidou, Malaga / Paris (2016); “El orden natural de las cosas” , Jumex Museum, Mexico City (2016); “Transformers”, MAXXI Museum, Rome (2015); “Who interprets the world?”, 21st Century Museum of Contemporary Art, Kanazawa (2015); “Invento – Revolutions that Invented Us”, OCA, São Paulo (2015); “Station to Station”, Barbican Centre, London (2015); “Ciclo”, CCBB, São Paulo (2014); “PER/FORM How to do things with[out] words, CA2M Centro de Arte Dos de Mayo, Madrid (2014); “El Teatro del Mundo”, Museo Tamayo, Mexico City (2014); “In the Spirit of Utopia”, Whitechapel Gallery, London (2013); 12th Sharjah Biennial (2013); Liverpool Biennial (2012); Gwangju Biennial (2012); dOCUMENTA(13), Kassel (2012); Istanbul Biennial (2012).
His work is part, among others, of the following collections: 21st Century Museum of Contemporary Art, Kanazawa, Japan; Brooklyn Museum, New York; Colección Jumex, Mexico; ICA Institute of Contemporary Art, Miami; Kadist Art Foundation, San Francisco; Bronx Museum, New York; Carnegie Museum, Pittsburgh; La Tallera / Sala de Arte Público Siqueiros, Cuernavaca / Mexico City, Mexico; MAXXI National Museum of the 21st Century Arts, Rome; Mac/Val Musée d’Art Contemporain du Val-de-Marne, Vitry-sur-Seine, France; Museo Rufino Tamayo, Mexico City, Mexico; MUAC Museo Universitario de Arte Contemporáneo, Mexico City; MFA Museum of Fine Arts, Boston; Walker Art Center, Minneapolis.