Luis Felipe Ortega
"About the Notion of Time in Conrad 1", 2020. Piezographic printing. 100 x 150 cm.

"About the Notion of Time in Conrad 1", 2020. Piezographic printing. 100 x 150 cm.

"About the Notion of Time in Conrad 2", 2020. Piezographic printing. 100 x 150 cm.

"About the Notion of Time in Conrad 2", 2020. Piezographic printing. 100 x 150 cm.

"About the Notion of Time in Conrad 3", 2020. Piezographic printing. 100 x 150 cm.

"About the Notion of Time in Conrad 3", 2020. Piezographic printing. 100 x 150 cm.

Luis Felipe Ortega

Mexico, 1966. 
Lives and works in Mexico City, Mexico.

The work of Luis Felipe Ortega addresses contemporary thought by seizing words, phrases and ideas of writers and filmmakers, philosophers, anthropologist, music and artists to weave a hybrid map of relations. Through this map, through this primary material, Ortega generates actions, situations, videos, drawings, sculptures and installations. By creating a tension between the framework or limits of the pieces and the body of the spectator, his work always delves into the specific political dimensions of art. Horizons, emptiness and constant silence are the birthplace and departure of his production.

To produce ideas (tools) through which we engage with other ideas is one of Ortega’s primary obsessions; his production can thus be understood as a ludic field to construct these tools.

He completed his undergraduate degree in the Faculty of Humanities and Philosophy at Universidad Nacional Autónoma de México (UNAM). Since the 1990s, he has published extensively and edited several magazines. In 2002, he carried out an artistic residency in the International Studio & Curatorial Program (ISCP) in New York City. He has received numerous recognitions, including the Sistema Nacional de Creadores (2006, 2009, 2015) and FONCA, Jóvenes Creadores (1998).

His work has also been included in biennials such as: Bienal de Coimbra, Portugal (2019); La Biennale di Venezia, Mexican’s National Pavilion, Venice (2015); Prague Biennale, Czech Republic (2009); Tirana Biennale, Albania (2001) and Gwangju Biennale, South Korea (2000).

Among his most important  solo exhibitions, the following are worth highlighting: A Horizon Falls, A Shadow, Mattatoio-MACRO, Rome (2018); A propósito del borde de las cosas, Museo Experimental El Eco, Mexico (2017); Así es, ahora es ahora, Laboratorio Arte Alameda, Mexico (2010); Horizonte Invertido, El Clauselito, Museo de la Ciudad de México, Mexico (2010); Before the Horizon, Maison d’Art Actuel des Chartreux, Belgium (2006); Ocupación, Sala de Arte Público Siqueiros, Mexico (2004), Km 96, Kurimanzutto, Mexico (2002); Yo, Nosotros, Centro de la Imagen, Mexico (2000) and Campo de acción, Art&Idea, Mexico (1997).

Additionally, his work has been included in various group exhibitions: Between Words and Silence. The Work of Translation, Armory Center for de Arts, Pasadena (2017); Punk, sus Rastros en el Arte Contemporáneo, MACBA/Barcelona, Museo Universitario del Chopo/Mexico (2016); Strange Currencies. Art and Action in Mexico City 1990-2000, The Galleries at Moore College of Art and Design, Philadelphia (2016); Moving Time: Video Art at 50, 1965-2015, Eli and Edythe Broad Art Museum, Michigan (2016); Antes de la Resaca. Una Fracción de los Noventa en la Colección del MUAC, Mexico (2011); La Era de la Discrepancia, MUAC, Mexico, MALBA, Buenos Aires, Argentina/Pinacoteca do Estado de São Paulo, Brazil (2008); Esquiador en el Fondo del Pozo, Jumex, Mexico; After the Act, MUMOK Museum Moderner Kunst, Austria (2005); Cover Theory. L'arte Contemporanea Come Re-interpretazione, Officina della Luce, Italy (2003); Elephant Juice (Sexo entre amigos), Kurimanzutto, Mexico (2003); Ummaguma: Especies de Indeterminación, Mexico, (1995); Jorge Kunst Uit Mexico, Belgium (1994) y Temístocles 44-I (Decoraciones para el hogar), Mexico (1993).

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