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José León Cerrillo (b. 1976, San Luis Potosí, Mexico. Lives and works in Mexico City)
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José León Cerrillo “The New Psychology” at Andréhn-Schiptjenko Gallery, Stockholm
April 30~2014
José León Cerrillo’s exhibition – his first at Andréhn-Schiptjenko and his first one person-show in Europe –
gives a broad introduction to Cerrillo’s œuvre. A major piece is a site-specific structure that transects the gallery
and its walls, made out of cut and welded powder coated aluminium frames. The metal frame as material is
recurrent in a series of smaller sculptures. There is also a series of sculptures made of glass, concrete and
plaster, as well as a series of two-dimensional works, silk-screens on canvas.
Using language – as system of meaning with inherent flaws and implied power structures – as a starting point
and drawing from graphic ideologies, linguistic systems, constructivism, geometric abstraction and modernist
iconography, Cerrillo explores the possibilities of genuine abstraction through a wide range of media, from
printed posters to sculpture, installations and performance.
The abstract is by definition un-representable. In his work, Cerrillo regards the concretization of the abstract as
a series of failed forms; a representation of a void or an absence that inevitably points to yet another thought
that is again abstract. His installations as a whole could be a way of analysing the transformation from the
abstract to the concrete and the necessary representations of it through language.
.
at Andréhn-Schiptjenko Gallery, Stockholm
until 10 May 2014
.
José León Cerrillo “The New Psychology” installation views at Andréhn-Schiptjenko Gallery, Stockholm, 2014
.
Courtesy: the Artist; Andréhn-Schiptjenko Gallery, Stockholm.
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José Leòn Cerrillo Daniela Pérez
PROYECTOS MONCLOVA -­ MEXICO CITY
The provision of basic, temporary accommodation confirms itself as an ideal in a tropical
21st-­century paradise labelled as “Hotel Edén.” This solo exhibition of José León Cerrillo’s
most recent work presents the tracing of a hospitable, formal and conceptual atmosphere
that enables us to look forward, yet as if from back in time.
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JOSÉ LEÓN CERRILLO, Hotel Edén, 2009. Installation view at Proyectos Monclova. Courtesy Proyectos
Monclova, Mexico City.
Through a unique layout of open compositions formed by, among other elements, the empty
spaces of words, the Mexican artist reinforces an ongoing concern with the problem of the
fixed architectural, social and communication structures of language.
Upon entering a long, narrow corridor, a series of metallic multi-­sized sculptural elements (in
red, black and blue) advise us of the interruption that we, the visitors, represent within this
mental and physical construction. Trespassing the walls, from the thin hallway into the
adjacent gallery rooms, including the office and a warehouse, the transverse straight lines
reaffirm that these outlines compose geometric volumes of open-­ended, uncontained voids.
It becomes almost impossible, if not senseless, to seek a full vision of any of these forms;;
however, our inherent will to self-­organize allows us to complete the “whole.” Furthermore,
“Hotel Edén” is composed of various other formats that generate an equilibrium of
reconfigured shapes;; folding-­screen-­like modules with strategically positioned mirrors expand
the possibilities of their own (in)tangible mass through simple reflections that have the ability
to ‘confuse’ us regarding what we assume we might be seeing. Previous projects by Cerrillo
have drawn reference from Neo-­Concrete poetry and fragments of Modernist visions. In the
context of this exhibition it seems evident that the artist has developed these ideas further in
order to highlight the dichotomies — positive and negative — of boundless forms;; for
example, hollow bodies of immaterial organs are substituted by wooden blocks to generate
varying dimensions for dialogues. Signs are thus abstracted from a confined enclosure and
are positioned as puzzle pieces that have no single expected match. The configurations
each visitor proposes will be “legible,” disregarding if it was read, sung, discussed or
interpreted from upside down or as a text without full stops, commas and capital letters;;
therefore, providing a formula of its own.
Flash Art 268 OCTOBER 2009
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ES / EN
El proyecto
José León Cerrillo
Studio Visit
Abstracción posible
FA
Abstracción económica
The artist José León Cerrillo lets us into his studio and shares some insights into his work.
Abstracción formal
Tags: artist, cerrillo, en, mexico city, visit
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Contenido relacionado
FA Hotel Edén
José León Cerrillo
Tags: artista, cerrillo, ciudad
de méxico, performance
José León Cerrillo: My name is Jose Leon Cerrillo. This is my workshop. I am going to show you what I
am working on, right now is a series of iron sculptures and silkscreen printing.
The work that is here is not at all finished, it is sort of in the process of being finished.
The thing is that the sculptures always have some sort of perception mechanism as they are always
either double-sided mirrors or blocked glasses or they are just frames that emphasize a bit of space,
which can be gone through, and for this specific project, the structures went to being bidimensional as
they are drawing on the wall. They all have to do with this matter of the perception on how is a person
located in front of one of these structures.
In a very illustrative and didactic manner, there are pieces such as this cube that are a gestalt that is
sometimes used in psychological tests, which are not really interesting for my work, but what interests
me is how geometrical shapes or perspective can be used in a subject localization. And they are very
simple things. In this specific case it is as if you said where it was positioned […] if it is on top of the
sculpture or underneath the structure. Therefore, these are the structures that constantly change their
perspective and you cannot see both at the same time.
There are double hexes that can be perceived as a window, a frame, a hole… Or these, which are
circles that outline a void that at the end can also be the supremacist square.
I tell you all this as a way to introduce my most specific interest which has to do with the language. Not
so much about the language as an abstract structure but language as a system of significance to
position the subject. From there we find the matter of perception, which means “the experience of being
in something”. Not so much in an objective way where the subject always has to be extracted from this
perception, or this one that is something more like “the frame within the frame” where the subject in
always included.
An exhibition that was created in a residence last year, it was precisely this investigation of the failed
modernist project. I was invited to do an exhibition in Los Angeles. At that moment I was doing a
research project about […] story houses. I was invited to live in one of the houses owned by the
foundation. I worked at home and then during my stay in the house I hosted four events, four
collaborations with different musicians, pieces made specifically for the house or for the house concept.
The first performance was with a composer called Juan Cristobal Cerrillo, who is my brother. These
were preliminary drawings for the score, and all the pieces have different folds and perforations, the
scores then become something more sculptural once they are made. All the folds are different and so
are all the perforations.
In the end they managed to become some sort of house, the scores then become architectural
blueprints and the blueprints become models for a house.
I think it is important not to fall into this hyper-narrative question of the work. The experience of the work
can be dissected. one can say that the basis of this is a text or a photocopy, then is created a sort of
understanding immediacy, which doesn’t interest me much. Going back to the language question, what
interests me are precisely the gaps where sometimes this part of language may not work like for a
didactic or understanding question, then new things emerge.
What is at the Museo Tamayo, which is a piece that was included in 2009 in the exhibit called Eden
Hotel (Hotel Eden). Many times, the projects have different texts as basis, in the case of the Eden Hotel
project, there was a text called “Eden, Eden, Eden) from a French and Algerian author called Pierre
Guyotat. It is a text with no punctuation marks; it is a text with no grammar. There are many many actions
but the verbs are sometimes wrongly conjugated, there are commas… So, at the end it is a text that is
impossible to read and at the same time it is an absolute text, as you don’t have to read the whole text to
understand what it is about.
The structure that will be presented at the Tamayo is a structure that outlines a volume. A sort of cube, a
room within a room with a series of blocks. I call them that because they are not structures, nor
paintings, nor drawings, they are blocks with holes, they are all punched with holes, and the hole in
Buscar
itself defines a way or a word, then the only way to read the word is seeing through it or through the
hole. And at the same time, inside these holes there is a sort of screen where they project a series of
shadows.
I don’t have an expectation on those participating, or of the spectator of the work. As my work is not
narrative, in this sense there isn’t a parameter where to start. Evidently, there are some stepping-stones,
some areas that seem important for me to consider. It is a little bit about what I talk about […] about the
final work. The difficult part of the experience is this hyper-objective thing and at the same time it is
hyper-subjective, as the subject is meddled into the experience and so there is no guide to indicate how
they should be read or how the works should be seen.
What interests me from the abstraction is a little like loosing oneself. At the end this redundant or purist
question of the abstraction for the abstraction itself, and my perspective on the matter is perverse as it is
exactly not that, but on the contrary. It is the option to take abstraction as a field of possibilities, without
getting into the emancipation subject, but in the contrary, as something that can be charged with
content. This is the opposite of the purist vision of what abstraction is, and that refers to the reduction of
content. It is perverse because it is not the purist way of seeing things.
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Interview by Francesca Gavin for Despite Moments of Clarity there is no
‘isim’ in this Book; published by Laurence King, August 2011.
http://www.laurenceking.com/en/100-new-artists-1/
What interests you about abstraction?
It is not abstraction as an end in itself that interests me. It is the abstraction
within a system of representation in the formation of meaning what perhaps
interests me the most. The problem then being that if abstraction is thought
as a means to an end it could very well change into something rather
concrete. That interests me more.
How are you influenced and commenting upon the heritage of
modernism?
I am a product of the wreckage of modernism (raised by wolves and fed
from the leftovers). I am in the position of enunciating from a broken subject
or from the impossibility of enunciating from ONE place, from A UNIVERSAL
ONE. I am a product of the refusal and collapse of the Modern Project; I am
part of an open rehearsal. It is within the limits of the failure of the modern
project and from its dystopian attempts to progressive understanding,
where I can scavenge something to be abolished and produced,
simultaneously (jolly jolt of Revolution). I know now the ways in which the
future can help the past. One opposes and one takes what one can to
produce anew: The modern cannibal.
What interests you about playing with the aesthetic of graphic
design?
My interest in graphic design has to do with the act of communication. I am
interested in the organization of information (be it visual or not) and the way
it is set up to be read/received. There is always an invisible underlying
structure in everything that supports what is being said/communicated.
Design is this restrained form of communication, often built upon and being
sustained by what is being omitted.
What do you find interesting about structures and architecture in
relation to your sculptures?
Given the fact that subjects (people) need to negotiate space thru/with/in
relation to other objects, I think of my sculptures more as architecture and
structures to work with/within, than as contemplative things in themselves.
Beyond formal scenarios, it is in the construction of the subject where I can
situate my structures.
Does Mexican society, culture and politics influence your work in
some way?
It is impossible for me to disassociate my work from my own cultural legacy.
Mexican modernism is an important historical constituent of the current
state of things, albeit its failures and misgivings (both in an urban sense and
within the sociopolitical fabric). I live in Mexico City where locally
metabolized cultural internationalism pretended to shape the city and its
dwellers. The need of ‘a modern city for a modern Mexican citizen’ was
created as a way out of 20 years of civil unrest. Fuelled by modernist
standards, a radical urbanization program was put in effect with the
pretense of national unity. Such ‘experiments’ paved the way for further
political control and decay. The interesting thing for me is the way in which
such pretensions where cannibalized and transformed into something else,
something contradictory and resistant, distinctly particular to the place and
its inhabitants.
How does geometry influence and inform your work?
The thing is or it isn’t. There is no middle ground or half way in between.
There could be a wrench thrown in. The machine will brake and the factory
will have to be closed. Problems of representation will have to be addressed
and negotiated. Language will be a key factor, and so the subject of the
linguistic statement used in an attempt to unravel, un-brake, do as it undoes.
We can call it the subject of repetition. Circlesquarecircletriangle. We can
quote and challenge (the open disputed need of the antonym) and say that
the signifier represents a subject for another signifier…
There are more things breaking. Or getting fixed when thery’re broken.
There is a reunion. It’s the unit, “I mean what I mean”.
Now the body is the scene.
The other is the same. The individual.
The equal, free, and fraternal subject.