ARTISTS
Oscar Murillo: Spirits in the Swamp
Following his solo show at The Museum of Contemporary Art Monterrey, Murillo continues his understanding of the exhibition space as an incubator for materiality and mark-making. Canvas filled with messages, marks, and drawings left by visitors to sprawls the central patio of the museum. The building itself becomes, not just a neutral container but, a stage for performance; a swamp of layered marks.
In previous participatory iterations, Murillo invited public intervention through colour, offering paint to visitors in a collective, monumental act of mark-making. In this iteration, Murillo turns to black. Scattered piles of black crayons replace paint, inviting the public to contribute with gestures of erasure. Here, Murillo鈥檚 swamp becomes obscured, shrouded in black; an ode to both obliteration and renewal, sight and blindness and consumption and purity. Large swathes of stitched and weathered black fabric鈥攐nce part of Murillo's installation at the 56th Venice biennale, All the Worlds Futures鈥攐ccupy the space as a latent spiritual presence hanging from the ceiling and crumpled on the floor. Overwhelming in scale, the material becomes an active participant imbued with the energy of the visitors of the museum.
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Following his solo show at The Museum of Contemporary Art Monterrey, Murillo continues his understanding of the exhibition space as an incubator for materiality and mark-making. Canvas filled with messages, marks, and drawings left by visitors to sprawls the central patio of the museum. The building itself becomes, not just a neutral container but, a stage for performance; a swamp of layered marks.
In previous participatory iterations, Murillo invited public intervention through colour, offering paint to visitors in a collective, monumental act of mark-making. In this iteration, Murillo turns to black. Scattered piles of black crayons replace paint, inviting the public to contribute with gestures of erasure. Here, Murillo鈥檚 swamp becomes obscured, shrouded in black; an ode to both obliteration and renewal, sight and blindness and consumption and purity. Large swathes of stitched and weathered black fabric鈥攐nce part of Murillo's installation at the 56th Venice biennale, All the Worlds Futures鈥攐ccupy the space as a latent spiritual presence hanging from the ceiling and crumpled on the floor. Overwhelming in scale, the material becomes an active participant imbued with the energy of the visitors of the museum.
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