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Alejandro Mondría is a multidisciplinary artist born in Mexico City in 1973. He currently lives in Mexico (Riviera Nayarit)and Switzerland (Bad Ragaz) where he works. During 1991 to 1995 he studied fine arts at the University Rhode Island School of Design in the United States and in 2015 a CAS in curating at the University of Zurich Hochschule der Kunst, Switzerland.

Contents
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 * 1 Biography
 * 2 Work and life
 * 2.1 Installation The Shipwreck. 1997
 * 2.2 Bottle and message. 2000/01
 * 2.3 Inland. Chopo Museum. 2004 -16
 * 2.4 All in one

Biography[edit]
The basis of Alejandro Mondria's activities is inspired by games, walks, humor and paradoxes. His work includes painting, photography, installations, sculptures. Alejandro Mondria has participated in numerous exhibitions in Mexico and in Europe and the United States

Installation The Shipwreck. 1997

Installation The Shipwreck. 1997[edit]
When Mondria finished his studies in the United States, he returned to live in Cuernavaca, and to work in Tepoztlán, Mexico. Here he creates his first Installation and exhibition in 1997 in the Ex convent of Tepoztlán. This community was in full demonstration against an exclusive real estate development of a golf course because it was unsustainable due to the lack of water. The main access roads to the town were blocked and closed allowing only access to its inhabitants and visitors, and the community self-governed itself for more than a year until the project was canceled. During this process, the installation was produced: "The Shipwreck." Where his work begins to inquire about the place, politics, its community and social art. Seven boats made of bamboo, reed and rope and of different sizes were suspended at different heights in the center of the courtyard of the former convent. The largest boat of about 9 meters with its mast folded and its sail made of sacks of wheat, was unwound in the fountain in the center of the courtyard on the ground floor. From this center the movement of the pieces (pangas) hanging and swinging with the wind, formed a spiral upwards.

The smallest panga hanging on top and tied to the bell tower of the church, at the sound of the bells ringing, moved insightful and disturbing. The height of the panga as high as the roof of the convent provided a perspective of a vortex or cone from the ground floor, where the small panga on the heights seemed to sail in the blue of the sky. "The Shipwreck"

es representativo de  lo insustentable de un proyecto político en Morelos, Tepoztlán, pero por otro lado el levantamiento desde el fondo, adentro y hacia arriba de las pangas hacia el cielo que representaban la  voz y el llamado de la comunidad a descubrir su propio destino al encuentro con sus valores de desarrollo. Esto visto desde la experiencia personal del artista.

This project helped the artist to obtain a grant from the Fonca of young creators of Morelos with a project entitled "Isabela". What it means to raise candles in contrast and as a follow-up to his work "El Naufragio"

Bottle and message. 2000/01[edit]
Pacific Ocean number 1. Litibu beach.

"Letter" It is an art narrative object of location, word and place that represents the principle of moving from one place to another and being located. Where one place loses meaning but another discovers itself, new. In this work, Mondria invents and formalizes his own address. Pacific Ocean number 1, Litibu beach. The work speaks of the need for belonging, location and direction, it also touches on the theme of emptiness, message and meaning. The work consists of a bottle of green wine with the label upside down (in white) with the words written by hand of the real and invented address: On the bottle is the first letter received(the bank statement of the artist) probably as empty as the bottle. A message locked in time and adrift with the tide and the course that questions and determines being more than what is in the banking status or the place where you live.

Inland. Chopo Museum. 2004 -16[edit]
Large paintings that come to refresh the graffitism to propose as affirmations, what in this were vague signs of identity of their authors. Combining the graffiti with waste materials that for arte povera would mean a spiritual devastation, Mondría makes confessional what was social claim in the street paintings of the big cities, and existential the construction of the painting with the materials of its more immediate motive, that in his case is the virgin beach where the desolation is exacerbated. The social oppression that graffitiism denounced and the precariousness that Arte Povera assumed as a form, are for Mondría those of existence itself. His anonymity is that of a tacit subject who reflects in front of the sea. And his vandalism is an expression of freedom against all pictorial canons. Theirs is an internalization of what was anonymous and public by nature, and an awareness of the matter to mold it as a form of intimacy.

Conscious of the loss of autonomy of the pictorial image, the real space of navigation of Mondría is written in the form of aphorisms. Mondría paintings are primary and crude surfaces on which it is affirmed at all costs that the painting is an impenetrable plane that today can only be influenced by reflections, although this entails an emotional projection. Thus, these works of Mondría can be seen as a set of written pages that renounced being poems, to make the viewer pass between them as the painter by the inconstant boundaries between land and sea, which ended up metaphorizing their emotional trances and a deep relationship with Nature. "

All in one[edit]
A walk around the Rhine " It is a participative work as a site of dialogue presented in the Seventh Triennial of sculpture of Bad Ragarts, Switzerland, 2018. It reflects a space of assembly and ability to exchange bodies in space.  It is a work about place and flow, related between the artistic framework that establishes relations that open and close, hiding and revealing a horizon of possibilities and mutual relations. The comprehension of the whole (in one) is only evident with the vision of the other, something that a person did not see, for another person can be evident. This value is understood as an artistic practice to complete a vision of the public space that interacts with the natural, the economic, the political and the cultural system of values that embrace the social.