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Miguel Angel Ríos
Medellin

1995

$30,000
£22,666.67
€25,988.37
CA$41,868.45
A$45,556.06
CHF 24,121.37
MX$548,070.48
NOK 306,287.64
SEK 280,231.74
DKK 194,169.24

About the Item

This body of work by Miguel Angel Ríos from the early 1990’s mark an important period in his career, and he has made a name for himself with his ‘Mapas’ which are in various important collections, a.o. at the MoMA New York. Ríos always chooses carefully the space of action, be it in his films of the spinning tops, the dancer’s realm or the manipulated cartographic maps: it is the space where extremes meet, where existence is at stake, or as Raphael Rubinstein wrote: ‘at the verge of chaos where borders burn’. One of Ríos’ most recent films ‘Endless’ (2014/2020) is making borders very visible, almost tangible. From the Mapas series Ink on pleated paper and push pins Unique ___ Miguel Angel Ríos studied at the Escuela de Bellas Artes in Buenos Aires before moving to New York in the 1970s to escape the military dictatorship in Argentina. He subsequently relocated to Mexico and now divides his time between the USA and Mexico. In his work, Ríos pairs a rigorous conceptual approach with a meticulously constructed and often handmade aesthetic. Since the 1970s, he has made work about the concept of the "Latin American," using this idea as both an artistic strategy and a political problem. In the 1990s, he began creating a series of maps, which he carefully folded and pleated by hand. Marking the 500th anniversary of the "discovery" of the Americas, the maps indicate long histories of power and colonial experience, and they reference traditional Indigenous arts in the Americas, including the Andean quipu. Since the early 2000s, Ríos has also delved into the medium of video to create symbolic narratives about human experience, violence, and mortality. For example, his videos of spinning tops--trompos--use the childhood game of tops as a backdrop for a meditation on the transience of life and the mechanics of power. In his 2012 Untitled video from The Ghost of Modernity, Ríos references high Modernism--with direct nods to John Cage, Marcel Duchamp, and Donald Judd--in the midst of the Mexican desert. "Is this ghostly geometric figure a lens through which the world can be reinterpreted?" the artist asks. "Or is it the paradigmatic principle of modernist thought that organizes the world around it? Are we inside or outside the cube? " Ríos’s works have been shown in a number of important solo exhibitions, including Landlocked, Arizona State University Art Museum, Phoenix, Arizona, USA (2015); Miguel Angel Ríos: Walkabout, Des Moines Art Center, Iowa, USA and Museo de Arte Carrillo Gil (MACG), Mexico City, Mexico (with exhibition catalogue) (2012); Miguel Angel Ríos, Dunedin Public Art Gallery, Dunedin, New Zealand (2010); Manhattan Códice, John Weber Gallery, New York City, New York, USA and Museo de Arte Carrillo Gil (MACG), Mexico City, Mexico (1999); Miguel Angel Ríos: Neither Colour, nor height, MUCEM, Marseille, France (2017);Miguel Angel Ríos, Museo de Arte Latinoamericano de Buenos Aires (MALBA), Argentina (2009); On The Edge, Museum of Contemporary Art San Diego (MCASD), California, USA (2009); Miguel Angel Ríos: On the Edge, The Museum of Fine Arts, Houston (MFAH), Texas, USA (2019); A Morir, Phoenix Art Museum, Arizona, USA (2007); and No Way Out, Röda Sten Konsthall, Gothenburg, Sweden (2019).
  • Creator:
    Miguel Angel Ríos (1943, Argentinian)
  • Creation Year:
    1995
  • Dimensions:
    Height: 39.6 in (100.59 cm)Width: 53 in (134.62 cm)Depth: 0.1 in (2.54 mm)
  • Medium:
  • Movement Style:
  • Period:
  • Condition:
  • Gallery Location:
    Miami Beach, FL
  • Reference Number:
    1stDibs: LU453317347812

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