26/05/2026
Abraham Cruzvillegas
๐๐ญ๐ช๐ฏ๐ฅ ๐ด๐ฆ๐ญ๐ง ๐ฑ๐ฐ๐ณ๐ต๐ณ๐ข๐ช๐ต ๐ธ๐ข๐ช๐ต๐ช๐ฏ๐จ ๐ง๐ฐ๐ณ ๐ฎ๐บ ๐ฎ๐ถ๐ด๐ช๐ค๐ช๐ข๐ฏ ๐ง๐ณ๐ช๐ฆ๐ฏ๐ฅ๐ด ๐๐ฐ๐ค๐ฐ๐ญ ๐บ ๐๐ฃ๐ฆ๐ฅ ๐ข๐ต ๐๐ข ๐๐ฎ๐ฑ๐ฆ๐ณ๐ช๐ข๐ญ, ๐ฅ๐ณ๐ช๐ฏ๐ฌ๐ช๐ฏ๐จ ๐ข ๐ด๐ถ๐ฆ๐ณ๐ฐ ๐ข๐ฏ๐ฅ ๐ข ๐ค๐ญ๐ข๐ฎ๐ข๐ต๐ฐ ๐ฏ๐ข๐ต๐ถ๐ณ๐ข๐ญ, ๐ญ๐ช๐ด๐ต๐ฆ๐ฏ๐ช๐ฏ๐จ ๐ต๐ฐ ๐ต๐ฉ๐ฆ ๐ข๐ญ๐ฃ๐ถ๐ฎ โ๐๐ญ๐ช๐จ๐ฉ๐ต ๐๐ณ๐ฆ๐ฆ๐ฅ๐ฐ๐ฎโ ๐ฃ๐บ ๐๐ฆ๐ง๐ง ๐๐ข๐ณ๐ฌ๐ฆ๐ณ, ๐ณ๐ฆ๐ข๐ฅ๐บ ๐ต๐ฐ ๐ฆ๐ข๐ต ๐ข ๐จ๐ฐ๐ฐ๐ฅ ๐จ๐ถ๐ข๐ค๐ข๐ฎ๐ฐ๐ญ๐ฆ ๐ธ๐ช๐ต๐ฉ ๐ฆ๐ด๐ค๐ข๐ฎ๐ฐ๐ญ๐ฆ๐ด ๐ข๐ฏ๐ฅ ๐ค๐ฉ๐ข๐ฑ๐ถ๐ญ๐ช๐ฏ๐ฆ๐ด, ๐ธ๐ช๐ต๐ฉ ๐ข ๐ด๐ข๐ญ๐ด๐ข ๐ฃ๐ฐ๐ณ๐ณ๐ข๐ค๐ฉ๐ข, ๐ช๐ฏ ๐ด๐ฐ๐ฎ๐ฆ ๐ฃ๐ญ๐ถ๐ฆ ๐ค๐ฐ๐ณ๐ฏ ๐ต๐ฐ๐ณ๐ต๐ช๐ญ๐ญ๐ข๐ด, ๐ฃ๐ฆ๐ง๐ฐ๐ณ๐ฆ ๐ข ๐จ๐ฐ๐ฐ๐ฅ ๐ค๐ฉ๐ข๐ฎ๐ฐ๐ณ๐ณ๐ฐ ๐ต๐ข๐ค๐ฐ, ๐ซ๐ถ๐ด๐ต ๐ค๐ฐ๐ฎ๐ช๐ฏ๐จ ๐ฃ๐ข๐ค๐ฌ ๐ง๐ณ๐ฐ๐ฎ ๐ต๐ฉ๐ฆ ๐๐ธ๐ข๐ฎ๐ฑ ๐๐ถ๐ฎ๐ฎ๐ช๐ต ๐ช๐ฏ ๐ ๐ถ๐ค๐ข๐ตรก๐ฏ, ๐ณ๐ฆ๐ข๐ฅ๐ช๐ฏ๐จ ๐ต๐ฉ๐ฆ ๐ฃ๐ฆ๐ข๐ถ๐ต๐ช๐ง๐ถ๐ญ ๐ฆ๐ฎ๐ข๐ฏ๐ค๐ช๐ฑ๐ข๐ต๐ฐ๐ณ๐บ ๐ฑ๐ฐ๐ฆ๐ต๐ณ๐บ ๐ฐ๐ง ๐๐ฆ๐ฅ๐ณ๐ฐ ๐๐ค ๐๐ฆ, 2023
Blue acrylic paint on newspaper clippings, cardboard, photographs, drawings, postcards, envelopes, tickets, vouchers, letters, drawings, posters, flyers, cards, recipes, napkins and steel pins on wall
90 x 160 cm
In this work, Abraham Cruzvillegas transforms fragments of everyday life โ tickets, postcards, photographs, and personal traces โ into a self-portrait that remains partially inaccessible to the viewer. Half of the elements are covered in a dark blue, the other half in a lighter hue, obscuring their details and making them impossible to fully decipher. Visitors are unfortunately not allowed to flip the elements over to see the back...
Yet the title offers another point of entry into the piece. Although the materials themselves remain hidden, the unusually long title unfolds as a constellation of experiences, memories, and pleasures: music, food, friendship, travel, and poetry. Rather than describing the self directly, the work constructs identity through accumulation and evocation.
This work is presented on S2 of Is That All There Is?, a floor bringing together works that resist immediate comprehension and cannot be fully grasped at first sight.
