Tania Pérez Córdova
15 Apr - 20 Aug 2017
Tania Pérez Córdova
They say it’s like a rock, 2015
Glass from a window facing south and Nag Champa incense
21 x 29 x 24 cm.
Courtesy of the artist and joségarcía, mx
Image courtesy of the artist
They say it’s like a rock, 2015
Glass from a window facing south and Nag Champa incense
21 x 29 x 24 cm.
Courtesy of the artist and joségarcía, mx
Image courtesy of the artist
TANIA PÉREZ CÓRDOVA
Smoke, nearby
15 April – 20 August 2017
The exhibition is organized by José Esparza Chong Cuy, Pamela Alper Associate Curator at the Museum of Contemporary Art Chicago.
Tania Pérez Córdova (Mexican, b. 1979) is an artist based in Mexico City whose sculptural compositions suggest the passing of time. Inscribed in her seemingly static pieces are hints of an active contemporary life: a borrowed gold earring is suspended from a bronze cast, an active credit card is inserted in a clay platter, a stranger’s SIM card is embedded in a terracotta slab. These objects make visible the artist’s negotiations with third parties—with the women left without one gold earring, with the credit card user, the bank, and the whole credit system. The sculptures are all of us, our relationship to digital communication.
Pérez Córdova’s interest in quotidian events underlines how unremarkable situations can be compelling acts associated with a complex infrastructure of social or economic relationships. They are performative works that do not move, “contemporary relics,” as she calls them. Pérez Córdova’s Ascendant Artist exhibition will be her first solo museum presentation in the United States.
The exhibition is presented in the Bergman Family Gallery on the museum's second floor.
Smoke, nearby
15 April – 20 August 2017
The exhibition is organized by José Esparza Chong Cuy, Pamela Alper Associate Curator at the Museum of Contemporary Art Chicago.
Tania Pérez Córdova (Mexican, b. 1979) is an artist based in Mexico City whose sculptural compositions suggest the passing of time. Inscribed in her seemingly static pieces are hints of an active contemporary life: a borrowed gold earring is suspended from a bronze cast, an active credit card is inserted in a clay platter, a stranger’s SIM card is embedded in a terracotta slab. These objects make visible the artist’s negotiations with third parties—with the women left without one gold earring, with the credit card user, the bank, and the whole credit system. The sculptures are all of us, our relationship to digital communication.
Pérez Córdova’s interest in quotidian events underlines how unremarkable situations can be compelling acts associated with a complex infrastructure of social or economic relationships. They are performative works that do not move, “contemporary relics,” as she calls them. Pérez Córdova’s Ascendant Artist exhibition will be her first solo museum presentation in the United States.
The exhibition is presented in the Bergman Family Gallery on the museum's second floor.