Javier HinojosaPORTFOLIO

Name: Javier Hinojosa Born: Mexico 1974 E-mail: javierhache@gmail.com

Lives and work in Mexico City Web: www.hinojosajavier.blogspot.com

Solo Exhibitions:2014 Archipielago Funcionalismo tropical (archipelago: Tropical functionalism) Altiplano Gallery. Mexico DF.2013 Genealogy of a Demolition. Curated by Daniel Garza-Usabiaga Museo Universitario del Chopo. Mexico DF. 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.2009 Ephemeral Traps, Permanent Consequences I. Interventionsraum. Stuttgart Germany.2008 Fuga en Transito (Flight in Transit): Curated by Itzel Vargas. Casa del Lago, Mexico DF.2006 Concrete Skeleton: ART & IDEA, New York, NY, USA.2006 Cabinet vs. Showcase: Celda Contemporanea, Curated by Sol Henaro Mexico DF. (project room)2005 Evoluciones Callejeras (Street Evolutions): La Estacin Gallery. Chihuahua, Mexico.2004 Intervenciones: CENART (National Arts Centre), Mexico DF. (Site specific Project)2002 Limites y Restos (Limits and Remains): La Esmeralda Gallery Mexico DF.

Group Exhibitions (Selected):2014 El derrumbe de la estatua: hacia una crtica del arte pblico (1952-2014) Museo Universitario de Arte Contemporaneo MUAC. Mexico DF.2013 Idiopolis at Remap 4. Curated by Stephan Klher Athens Greece. About Ruptures, Discontinuities and Gaps. Altiplano Gallery Mexico DF. Imaginary Archetypes. Abierto de Diseo. Mexico DF 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 DF. Another Country. Curated by Ovul Durmusoglu IFA Gallery.. Berlin Germany Another Country. Ovul Durmusoglu IFA Gallery. Stuttgart Germany2009 Home made, Curated by Osvaldo Sanchez. Modern Art Museum. Mexico DF. Arbeit und Freizeit (2) - Fiesta y ensayo (leisure and Practice). Daniel Ktter director. Alterna y Corriente. Mexico DF. 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 DF.

Duelo de Parejas (Vs.): Curated by Mauricio Limon El ECO Museum, Mexico DF. (Video Program)

2007 Fuera de Contexto (out of context) Video program, Curated by Anala Solomonoff. Conejo Blanco, Mexico DF. Monterrey Biennale. Museo de San Ildefonso. Mexico DF. Correo Domestico (Domestic Mail). Silvina Arismendi Galerie NoD, Praga, Czech Republic. Aequatortaufe: Kuntsarkaden. Munich, Germany.

Creacin en Movimiento. CNA, Mexico DF.2006 Creacin en Movimiento: IVEC, Veracruz, Mexico. Archivo en proceso: San jernimo 40 Mexico D.F. 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, D.F. Circo Renacimiento (Renaissance Circus). GLmutante. Campeche, Mexico.2003 T he one that moves wont appear in the picture. Centro de la Imagen. Mexico, D.F. GLMutante. Mexico, D.F. Inter-cities. Mexican Institute. Paris, France. M.Bondarchuks Promotion and Defense Fraternity. ART &IDEA Gallery Mexico, D.F2002 Farewell and Debut. National School of fine Arts Gallery Mexico, D.F. Grafinnova. Ostrobothnian Museum. Vassa. Finland.2001 PADID collective grant exhibition, 2000- 2001. Central Gallery. CENART (national center of fine arts)

Biennales:2013 remap 4 Athens Greece2012 Biennale Nationale de Sculpture Contemporaine. Trois-Rivieres Quebec2010 II Moscow young biennale. Moscow Russia2009 IV Bienal de Yucatan. Mrida Mxico.2008 III Bienal de Yucatan. Mrida Mxico. VIII Bienal de Monterrey. Monterrey Mxico.2004 II Bienal de Yucatan. Mrida Mxico.

Residencies:2012 a.i.r summer program. Centre for Contemporary Art Ujazdowski Castle. Warsaw Poland.2012 Atelier Silex. Trois-Rivieres Quebec 2009 Berlin Office. Berlin Germany2008-9 Akademie Schloss Solitude. Residency program. Stuttgart Germany2008 Micro Residencies Parasit(i)o. Galeria Parasito/Meet Factory, Prague, Czech Republic.

Studies:2011-2013 MFA Universidad Nacional Autonoma de Mxico UNAM 2001-2002 Photography and Alternative Media (Seminar). Centro de la Imagen, Mexico.1997-2002 Fine Arts degree with honors at La Esmeralda (National School of Fine Arts). Mexico1998 Deleuze and the Complex Thought (seminar), Research Tower (National Center of Fine Arts) Mexico1995 Architecture Studies. (unfinished) Universidad Intercontinental. Mexico

Grants:2014-2016 Sistema Nacional de Creadores de Arte (SNCA) FONCA. Mxico.2011-2013 UNAM grant for postgraduate Studies 2010 Baden-Wurttemberg/Akademie Schloss Solitude interchange program with Ekhaya Art centre, Kwa Mashu Natal, Durban South Africa.2005-2006 Jovenes Creadores (FONCA), 2005-2006. Mexico.2004 Architectonic Interventions in the National Fine Arts Center, CENART, Mexico.2001 Teaching Support Program Scholarship (PADID), CENART Mexico.2001 Jumex Foundation Grant, Atelier: Alternative Media, Centro de la Imagen, Mexico.

Statement

My practice begins with the act of walking the city as a research method, I focus in the observation of emerging con-structive situations, in the remains of urban activity, in the different ways nature of street objects and its materials cre-ate different alliances among them: an improvised chair between two trees, left over carry boxes in the middle of the side walk, bizarre agreements among buckets, tree branches, and concrete to keep available a parking place, piled up cement blocks from an abandoned construction site appear as crucial details when the concept of a city becomes, in its everyday peculiarities, in its inner molecules, a bigger multiplicity a global reality.

In my work the public space is captured and reinterpreted in its emerging programs, in the new functionalities of its objects and constructions. Improvisation together with a dislocated functionality is for me the formal paradigm of the city now in days; not only in its streets, but also in the way architecture evolve on it. An increasing form that shapes out of control and embodies all the contents we generate in our everyday life inside the city.

The material I get as a result of this walking research generates a sort of urban topography based on its public space ambiguities. And it works as the departure point of a bigger sculptural research in which I put in practice some of the formal (constructive) solutions I found in the streets driving them in to their functional limits in the intent of making visible its constructive precariousness, the fragility of their stability, the state of permanent arborescence in which they remain.

Javier Hinojosa

WORK

ARCHIPELAGO: Tropical functionalismAltiplano Gallery September 2014

In Tropical functionalism, Javier Hinojosa presents a series of sculptures and drawings based on functionalist architect Juan OGorman construc-tions, built between 1929 and 1932. The specific cases that Hinojosa an-alyzed are: Jauan OGorman house (1929) and home-study for Diego Ri-vera and Frida 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 engineering rather than architecture buildings because its construction did not pursue aesthetic purposes but purely functional. This assertion, how-ever, has always been controversial. The application of color on the con-crete surface by the architect and the use of sawtooth roof on the study of Rivera 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.

GENEALOGY OF A DEMOLITIONMuseo 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.

The urban context from which the sculptures are constructed is Santa Ma-ria la Ribera, an old central neighborhood that lives now in days a process of real state speculation that generally ends in the demolition of its original houses.

As it is common in Hinojosas production, these sculptures show a precar-ious 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.

GENEALOGY OF A DEMOLITION 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.

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. Nevertheless it is common to find them completely empty, showing only its inner metal. Since there is a big lack of regulations for the construction of these structures in Mexico City and be-cause of its proliferation, at a certain point a lot of them remain abandoned.

When this happens the structure becomes a generic element inside the city, a part of the landscape.

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)

SenatsreservenspeicherBerlin 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 choice but to round the entire block to keep going. Street dogs, night walk-ers and some people who wants to leave a mark dont care that much about crossing through. Mexicos sidewalks become concrete slabs of permanent 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 2009Taken for Stranger Berlin 2009Intervetionsraum Stuttgart 2009

Boxologie

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 Solitude2008

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 CorrienteMexico DF2009Arratia 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-als.

MeetFactory 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 tension. 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 ArreolaMexico 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.

CENART 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

Becks

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 2011Mexico DF 2009NY 2006

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 HinojosaColumn

Exteresa Arte Actual Mexico DF. 2005

An old church column covered with carboard boxes and tape

variable dimension

Skeleton

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 city.

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