Artist
Erick Beltrán
See images of Work
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Declaration of War Against the World: Fundamental Postulates
Installation view

How do you make effective plays in a game?
How was this situation of opposition established?
What happens if, when referring to life, the metaphor of the game is no longer effective?
Why is metaphor not enough?
Why and how is a conflict established with reality?
What happens when you no longer agree with it?
What happens when the rival is no longer identifiable because he/she has become diffuse?
When does this rival form part of your ideology?
What has the world done to make it so that this power is non-localizable and mobile?
How to avoid making it so that the analysis and critiques of a system do not end
up immunizing the system itself?
How do you take a position?
What is a position?

For Declaration of War Against the World: Fundamental Postulates , Beltrán attempts to map out the territory occupied by the individual’s divergences with the world, as well as the consequences that arise from these contradictions upon taking up certain positions. The piece presents some of the basic postulates of the artist as a call to action. Are there moments where a discourse densifies in such a way that it is possible to visualize the particular and concrete struggles against other ideological forms? Is it possible to confront or oppose to something when you recognize yourself within it? Now more than ever, when every gesture is assimilable by mass media or every sign transforms into a marketable good, the figure of the “rival” is not univocal (we are everywhere!). Whether on the political or social plane, the opponent manifests itself simultaneously with the same mutant identity, through linguistic, historical processes and through the ordering of concepts. This is why establishing discrepancies implies an integral proposal and, ultimately, a position in life. To present this subjective position and its final consequences is to approach the problem of the social. To seek an understanding of the forces that control the public, is to understand that we are them.

Inexistencia de la Voluntad
Print on cotton paper
35.24 x 32.87 inches
2006-2011

How do you make effective plays in a game?
How was this situation of opposition established?
What happens if, when referring to life, the metaphor of the game is no longer effective?
Why is metaphor not enough?
Why and how is a conflict established with reality?
What happens when you no longer agree with it?
What happens when the rival is no longer identifiable because he/she has become diffuse?
When does this rival form part of your ideology?
What has the world done to make it so that this power is non-localizable and mobile?
How to avoid making it so that the analysis and critiques of a system do not end
up immunizing the system itself?
How do you take a position?
What is a position?

For Declaration of War Against the World: Fundamental Postulates , Beltrán attempts to map out the territory occupied by the individual’s divergences with the world, as well as the consequences that arise from these contradictions upon taking up certain positions. The piece presents some of the basic postulates of the artist as a call to action. Are there moments where a discourse densifies in such a way that it is possible to visualize the particular and concrete struggles against other ideological forms? Is it possible to confront or oppose to something when you recognize yourself within it? Now more than ever, when every gesture is assimilable by mass media or every sign transforms into a marketable good, the figure of the “rival” is not univocal (we are everywhere!). Whether on the political or social plane, the opponent manifests itself simultaneously with the same mutant identity, through linguistic, historical processes and through the ordering of concepts. This is why establishing discrepancies implies an integral proposal and, ultimately, a position in life. To present this subjective position and its final consequences is to approach the problem of the social. To seek an understanding of the forces that control the public, is to understand that we are them.

Strategy/Constrategy
Die-cut cardboard figures, tables and blackboards
Variable dimensiones
2010

A war-planning table is presented as a board game. All the characters are taken from newspapers’s photographs. The audience is able to add more characters depending on the divergence of current events. The works becomes an attempt to diagram the social reality or our political subconscious. The over imposing interpretations of the participant, will create inner battles that reflect in endless mirror images.

Strategy/Constrategy
Die-cut cardboard figures, tables and blackboards
Variable dimensiones
2010

A war-planning table is presented as a board game. All the characters are taken from newspapers’s photographs. The audience is able to add more characters depending on the divergence of current events. The works becomes an attempt to diagram the social reality or our political subconscious. The over imposing interpretations of the participant, will create inner battles that reflect in endless mirror images.

Ostracismo
500 ciboriums of baken ceramic, mold, engobe and engraving needles
2009

The name Ostracism is derived from the word ostraka, referring to the potsherds or pieces of broken pottery that were used as voting tokens in Ancient Greece. Broken pottery, abundant and virtually free, served as a kind of scrap paper. It contrasted with papyrus, which was imported from Egypt as a high-quality writing surface, and therefore was too costly to be disposable.
Each year the Athenians were asked in the assembly whether they wished to hold an ostracism. The question was put in the sixth of the ten months used for state business under the democracy. If they voted “yes”, then an ostracism would be held two months later. In a roped-off area of the Agora, the people’s representatives scratched the name of a citizen they wished to expel form the Republic on potshards, and deposited them in urns. The presiding officials counted the ostraka submitted; if a minimum of six thousand votes were reached, then the ostracism took place: the officials sorted the names into separate piles, and the person receiving the highest number of votes was exiled for ten years.
The person nominated had ten days to leave the city; if he attempted to return, the penalty was death. Notably, the property of the man on exile was not confiscated and there was no loss of social status. After the ten years he was allowed to return without stigma. It was possible for the assembly to recall an ostracized person ahead of time.

Efecto Rashomon
Slides, signs, impressions
Variable dimensions
2008-2009

The Rashomon effects refers to the telling of a same story from various points of view. With this in mind, the artist analyses different latinamerican leaders, bringing forth the diverse versions of them that people keep in their memories. From this research an open archive is constructed, as well as the possibility to observe the process of constructing this materials.

Efecto Rashomon
Slides, signs, impressions
Variable dimensions
2008-2009

The Rashomon effects refers to the telling of a same story from various points of view. With this in mind, the artist analyses different latinamerican leaders, bringing forth the diverse versions of them that people keep in their memories. From this research an open archive is constructed, as well as the possibility to observe the process of constructing this materials.

Efecto Rashomon
Slides, signs, impressions
Variable dimensions
2008-2009

The Rashomon effects refers to the telling of a same story from various points of view. With this in mind, the artist analyses different latinamerican leaders, bringing forth the diverse versions of them that people keep in their memories. From this research an open archive is constructed, as well as the possibility to observe the process of constructing this materials.

Ergo Sum
Installation view
Variable dimensions

In this piece, the artist gatheres a large number of images, texts, diagrams, maps and quotes to try to answer the question “What is discourse?”. Starting with a research that includes both an academic structure and a method free association, a mental map is presented in the form of a 320-page newspaper. The publication unwraps, little by little, situations where the search for definition, identity, a story, or rule, becomes crucial for the discursive construction.

Ergo Sum
Installation view
Variable dimensions

In this piece, the artist gatheres a large number of images, texts, diagrams, maps and quotes to try to answer the question “What is discourse?”. Starting with a research that includes both an academic structure and a method free association, a mental map is presented in the form of a 320-page newspaper. The publication unwraps, little by little, situations where the search for definition, identity, a story, or rule, becomes crucial for the discursive construction.

Atlas Eidolon
Installation view
2014

“The world can be explained in two ways: 1) the facts and thins don’t have an intrinsic order, hence, one must be created; or 2) there is an order, but one must learn to read it. The Atlas Eidolon adheres to this last way of conceiving the world.“

Atlas Eidolon
Installation view
2014

“The world can be explained in two ways: 1) the facts and thins don’t have an intrinsic order, hence, one must be created; or 2) there is an order, but one must learn to read it. The Atlas Eidolon adheres to this last way of conceiving the world.“

Bio

Erick Beltrán
Mexico City, Mexico, 1974.
Lives and works in Barcelona, España.

Erick Beltran’s work is a constant research and reflection upon the structural mechanisms of systems, those regarding the power relations between the editing process and the construction of the discourse in particular. Through diagrams, information compilations, archives, media inserts, he approaches to the way images are defined, valued, ordered, classified, selected, reproduced, and distributed in order to create, political, economical and cultural discourses in contemporary society, and reflects upon how is it that the figure of the editor defines our world and power relations among groups of people.

Beltrán pours these concerns into the creation of systems and diagrams that try to catalogue a determined universe, through a process and a line of production with organic evolution, as well as into collections of seemingly random objects: that is the case with the Calculum series, similar to a wunderkammer in which different pieces found by Beltrán in his journeys are presented as texts, photos and objects; or with the Nothing but the truth book, which is the result of compiling a series of lies.

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