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Acrylic paint on paper, 140 elements, Variable dimensions, 2018 | Winsing Arts Collection | Courtesy of the artist and Galerie Chantal Crousel, Paris | Photo © ANPIS FOTO
"Autoconstrucción is about people, communities constructing together, sharing, exchanging. It’s all about togetherness. It’s about being with local communities and learning from local people." – Abraham Cruzvillegas
「自我建構是關於人、社區共同建造、分享和交流。這一切都是為了聚集，以及關於與當地社區相處和與當地人學習。」— 亞伯拉罕．克魯茲威利戈斯
Acrylic paint on paper, 298 elements, Variable dimensions, 2015 | Collected by Rudy Tseng | Courtesy of the artist and Galerie Chantal Crousel, Paris | Photo © ANPIS FOTO
2015年，倫敦泰特美術館的渦輪大廳展出一件由240個木製盆栽組成的大型裝置，裡頭裝滿從倫敦各地公園和花園收集來的土壤，還有許多透過現成物建造的燈柱，照亮著這些土壤，此件作品《Empty Lot》是由墨西哥藝術家亞伯拉罕．克魯茲威利戈斯受美術館委託所創作，講述關於城市與環境的議題。成長於墨西哥南邊阿胡斯科社區的克魯茲威利戈斯，創作形式深受童年生長環境和經歷的影響，即興和不斷變化的作品特性，反映自阿胡斯科的歷史背景；經濟的不穩定、對住所的需求和當地嚴苛的火山岩環境，促使人們在沒有藍圖的狀況下自行建造房屋。這些居民分階段建造房子，以漸進式、集體和有機的「絕對未完成」建築方式持續至今，這樣的生活哲學充分表現出Autoconstrucción —— 自我建構的含義。
In 2015, Tate Modern's Turbine Hall in London featured a large installation composed of 240 wooden pots filled with soil collected from parks and gardens across the city that was illuminated by a number of lamp posts constructed from ready-made materials. This piece, "Empty Lot", was created by Mexican artist Abraham Cruzvillegas on commission from the museum and deals with issues of the city and the environment. Cruzvillegas, who grew up in Ajusco in the south of Mexico, has adopted a creative form that is strongly shaped by his childhood environment and experiences, with an improvisational and ever-changing character that mirrors the historical context of the district. Their financial instability, need for shelter and the harsh volcanic conditions of the locality prompted these people to build their own houses without a blueprint. These inhabitants built their homes in stages, in a progressive, collective and organic “absolutely unfinished” construction style that has continued to this day, a philosophy of life that is fully emblematic of the notion of Autoconstrucción (self-construction).
Acrylic paint on paper, Installation of 272 pieces, Variable dimensions, 2020 | Winsing Arts Collection | Courtesy of the artist and kurimanzutto, Mexico City / New York | Photo © ANPIS FOTO
自2007年，自我建構成為克魯茲威利戈斯創作的核心概念，對藝術家而言，他並不是著重在建築本身，而是被產生這樣形式背後的需求和原因所吸引，它是一種在特定經濟、政治和社會環境下，理解現實和接近事物的形式，並隱喻建構自身認同的過程。克魯茲威利戈斯同時也透過挪用各種非正規材料 ，將這樣的過程展現在作品的狀態或型態上。
Since 2007, Autoconstrucción has been a central concept in Cruzvillegas' work. For the artist, he is not so much focused on the construction itself as he is drawn to the needs and reasons behind the creation of such forms. It is a form of understanding reality and approaching things in a particular economic, political and social context, and a metaphor for the process of establishing one's own identity. Cruzvillegas also manifests this process in the state or form of the work through the manipulation of various unorthodox materials.
此次文心藝所展出了克魯茲威利戈斯一系列雕塑裝置和繪畫。由收集的現成物重新組成、堆疊的雕塑作品，反映藝術家的自我建構概念，作品看似未完成的狀態，呼應了墨西哥的發展歷史和足跡。藝術家的創作牽涉變動、不完整和不可預測，換言之，如此的作品特性同時也和偶然、變化性與希望有所關係。
This exhibition at the Winsing Art Place showcases a series of sculptural installations and paintings by Cruzvillegas. The sculptures, which are reconstituted and stacked from a collection of ready-made objects, reflect the artist's self-constructed concepts accumulated from his upbringing, and the seemingly unfinished state of the works echoes the history and footprint of Mexico's development. Cruzvillegas' work involves flux, incompleteness and unpredictability - in other words, the character of his creations is at the same time associated with chance, variability and hope.
Wooden crates, wood and ceramic planters, red metal box, metallic ladder, plastic tubes, aloe plant, stones 262 x 250 x 150 cm, 2014 | Collected by Rudy Tseng | Courtesy of the artist and Galerie Chantal Crousel, Paris | Photo © ANPIS FOTO
克魯茲威利戈斯近期在法國Les Tanneries當代藝術中心、邁阿密海灘巴斯美術館、阿斯彭美術館、蘇黎世美術館舉辦個展，2015年為倫敦泰特美術館委託，於首屆Hyundai Commission展出《Empty Lot》。其作品曾在許多知名大型藝術機構展出，包含巴黎現代美術館、國立二十一世紀當代美術館、洛杉磯郡立美術館和紐約猶太博物館等；曾參與威尼斯雙年展、聖保羅雙年展、卡塞爾文件展、雪梨雙年展、沙迦雙年展、光州雙年展和哈瓦那雙年展。克魯茲威利戈斯的作品也為諸多知名藝術機構所收藏，包含紐約現代美術館、香港M+、倫敦泰特美術館、沃克藝術中心等。2012年獲第五屆韓國洋賢藝術獎。目前工作、生活於法國巴黎。
Cruzvillegas has recently held solo exhibitions at the Les Tanneries Contemporary Art Center, France; the Bass Museum of Art, Miami Beach; the Aspen Art Museum; and the Kunsthaus Zürich; and in 2015, commissioned by Tate Modern, London, he showcased “Empty Lot” at the inaugural Hyundai Commission. His artworks have been on display at many major art establishments, including the Musée d'Art Moderne de Paris, the National Museum of 21st Century Art in Rome, the Los Angeles County Museum of Art and the Jewish Museum in New York; he has participated in the Venice Biennale, the São Paulo Biennale, the Kassel Documenta, the Biennale of Sydney, the Sharjah Biennial, the Gwangju Biennale and the Havana Biennial. Cruzvillegas’ pieces have been housed by many prestigious art institutions, including the Museum of Modern Art, New York; M+, Hong Kong; Tate Modern, London; the Walker Art Center, etc. He was awarded the 5th South Korean Yanghyun Prize in 2012. He currently lives and works in Paris, France.
Nylon fishing net, nylon rope, pigeon hoof, beer Approx. 390.1 x 203 x 203 cm, 2017 | Private Collection | Courtesy of the artist and Galerie Chantal Crousel, Paris | Photo © ANPIS FOTO
