Jorge Satorre

REDCAT. Photo: Brica Wilcox

This exhibition at REDCAT, Los Angeles, works as a continuation of The Dead Animals, presented at Museo Tamayo a few months before. Both pieces were produced in a brickworks in Ajalpan, a small city in the state of Puebla.

The Dead Animals emerged from imagining the disappointment felt by the workers seeing their fresh floor tiles ruined by two wolfs chasing a sheep. The exhibition at REDCAT included a large drawing of the floorplan with the footprints left by the animals, intervened later as an erotic calendar, and fixed on the wall by forged iron sculptures. The central piece is a big installation across the space recreating the system of a pointing machine, an old measuring tool used by sculptors in order to copy models of plaster or terra-cotta into wood or stone. Some details of the area of rest and leisure of the brickworks’ workers were molded by using fresh tiles.

A series of drawings depicting different angles and details of a sexual scene in a hotel of Tehuacán, a city close to the brickworks, were shown in a vitrine (previously published in the book The Dead Animals edited by Museo Tamayo).

Main installation:
Bronze, wood, metal and fired clay.
Big drawing:
Graphite on canvas and forged steel pieces.
620 x 240 cm
Drawings:
Graphite on paper and steel fragments.
29.7 x 21 cm and 42 x 29.7 cm

Produced by REDCAT.
The exhibition was funded in part by The Andy Warhol Foundation for the Visual Arts and the Secretaría de Relaciones Exteriores of Mexico.

With the technical assistance of Carlos Paredes, Bonifacio Lopez, Oscar Garduño and Daniel Ugalde.

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12.10.2018 Nuevo manifiesto de cine mexicano 
21.02.2019 Ganar perdiendo - CentroCentro. Madrid 
09.03.2019 Amulet or He calls it chaos - 500 Capp Street Foundation. San Francisco 

Jorge Satorre (Mexico City, 1979) Through manual processes and experimentation with different materials, my work usually starts off as a response to small evidential traces that are part of historical moments of the contexts and subjects I relate to. After a brief incursion at the beginning of my career in the field of editorial illustration, drawing has remained my main medium, often produced by me, but also by colleagues I invite to collaborate from different areas like political cartoonists, and scientific and comic strips illustrators. The narrative possibilities of drawing allow me to make the objective record coexist with fictional elements, understanding this relationship as one of oscillation between different scales, between the individual and subjective and the general, hegemonic versions. Some of the venues where I have had solo presentations of my work are: REDCAT, Los Angeles (2018), Museo Tamayo, Mexico City (2017), Labor gallery, Mexico City (2017, 2014, and 2010); Statements, Art Basel (2014); Artspace, Auckland; Enjoy, Wellington; Halfhouse, Barcelona (all in 2013); Le Grand Café, St-Nazaire, France; FormContent, London; Centro Cultural Montehermoso, Vitoria (all in 2010); Xippas Gallery, Paris (2013 and 2008); Process Room/ Irish Museum of Modern Art, Dublin (2007), and La Casa Encendida, Madrid (2006).

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satorre.jorge@gmail.com

Labor