| Notes: | "Published on occasion of the exhibition Yoshua Okón. Collateral (September 23,2017 to February 11, 2018) MUAC, Museo Universitario Arte Contemporáneo.UNAM, Universidad Nacional Autónoma de México, Mexico City; (March 3 toJune 4, 2018) Museo Amparo, Puebla."--Facing Title Page.
Includes bibliographical references (page 194)
Texts in Spanish and Englsih.
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| Summary: | Since the mid-1990's Yoshua Okón (b. México, 1970) has produced works that explore the complexities of contemporary societies, addressing issues such as reality and fiction, power in authority, and social stereotypes, among others. "Rather than arranging the exhibition in a chronological or thematic sequence, it unfolds as a spiral that moves from Mexico City where Okón was born and has worked for the majority of his career (Bocanegra, 2007; Chocorrol, 1997), to a pair of engagements with the U.S.-Mexican border (Canned Laughter, 2009, and Oracle, 2015), and thence to Maine, the continental U.S. state furthest from Mexico City, where The Indian Project: Rebuilding History and WalMart Shoppers were made in 2015. From here Okón takes us to Guatemala via suburban Los Angeles (Octopus, 2011); south to Santiago de Chile (Chille, 2009); and finally to Herzliya in Israel where Gaza Stripper was performed and then re-presented as an installation in 2006."--Page 31.
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