Eduardo Abaroa

Eduardo Abaroa

Eduardo Abaroa was born in Mexico City in 1968. He studied art at the National School of Plastic Arts of the UNAM, and obtained a Master of Fine Arts from the California Institute of the Arts. Also was a member of Themistocles 44, participated in venues such as The Bakery and The Quiñonera, and is one of the founding members of Soma. His work has been exhibited in Mexico in places like the Museo de Arte Carrillo Gil, Museo de Arte Moderno in Mexico City, Sala de Arte Público Siqueiros, Instituto Cultural Cabañas, MUAC, and Kurimanzutto Gallery, among others, in the United States at the Museum of Contemporary Art in Los Angeles, Guggenheim Museum, New York, Jack Tilton Gallery, Art Projects at Art Basel Miami 2009, in addition to the Museo Nacional Reina Sofia in Madrid. And other art spaces in countries such as Canada, Germany, Argentina, South Korea, etc. He has also contributed with articles for catalogs of artists like Pablo Vargas-Lugo, Melanie Smith, Francis Alÿs and Tercerunquinto, among others. And for various publications and magazines such as ‘Curare’, ‘Casper’, ‘Code’, ‘City’ and the newspaper Reforma.

»» What do you think is a fundamental duty of every artist, or who is in its way of becoming one?
He must face the world that he has to live and interact with it in an intense manner. It’s necessary to constantly seek a new way of interacting, weather it is with the material, the subject or the context that surrounds you. Sometimes you must suffer a reconfiguration of yourself in order to reach new places for experiencing. Above all, you have to think about what it’s going to happen with this in front of the viewer. You have to find a sort of arbitrary necessity (a sort of nonsense). It sounds easy but it is not.

»» Do you feel some kind of link or connection with artists from other generations?

Yes, of course. I like to see paintings from all periods. Sometimes, I wish I could paint.

»» Within individual artistic processes that exist, self-criticism can play an important role. How is your process of self-criticism in particular?

Constant, uncompromising and devastating. Unfortunately ... But self-criticism is not always positive. Many times you have to stop it somehow and, once it all has been done, then release it to destroy everything (at least symbolically.)

»» In addition to being an artist and art critic, you've dedicated to teach, from this perspective. What is your opinion about the new generations of national artists?
My opinion is very biased, because if I've been teaching, in reality it was very few compared to many others. I think the new generations of artists are a little lost. Although this is not so terrible, as it can also be productive. Sometimes I think they have many resources to do things. Sometimes, I think they’re lacking of motivation to use this resources. I believe in general, with some important exceptions, that the young people try to escape from their circumstance (and more this one that we have today in Mexico) through their proposals. This is part of youth, perhaps, and then goes away. I’m worried about the future of this generations because the prospect of the country looks really sinister. I’m glad to see that to Soma arrive artists from all over the states of the Republic. I think that people should read more in spite of celebrating, even though, perhaps, I’m the only one ... 

                                                                           

»» Could you talk about SOMA. What is your role and what are your aims?

Soma is an educational and cultural project organized by artists. It has residencies, events every Wednesday’s and an educational program. Of the latter, I’m primarily responsible. We aim to improve the context for a cultural exchange. Being a catalytic converter for young artists and the ones that came before, we seek patterns of mutual convenience. And its functioning very well. My objective with this is to participate more in the cultural life of the City and, perhaps, to contribute with something new to the approach of an art school.

»» Of what extent was the impact caused to you by your first artistic "public"experience?

I can’t remember. I think the first time I didn’t have a lot of attention, it was on the Quiñonera. The rest of the works were really astounding. But they put mine between plants and was not visible enough.

»» Imagine a desert island, if you had the option to carry with you CDs and books. Which ones would be your choice?
Oops, books ... One of each? I take some poems of Pessoa, or someone like him, maybe even Shakespeare. All the poems that someone did in his entire life. I would bring Poetry, I think, even though I don’t read much. Or how about the entire Encyclopedia Britannica? It would be more useful in an island that something more narrative. Discs ... I rather take my guitar. I’ve been in similar situations to desert islands, and I heard: Sonic Youth or Led Zeppellin ... Bach or Satie. Classical among classics, I care little about the new when it comes to my intimate taste.  

Note: ‘La curadoría homeopática’ (The homeopathic curatorial) by Eduardo Abaroa is a highly recommended text by the one signing this interview.