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Franco Aceves Humana
updated: 01/30/2008
 
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Adivina cuál es, box behind art work
Pinto mi raya, obra de Wolfgang Benavides
Agua de riñón (kidney water)
Tríptico, by Wolfgang Benavides
El dr. Piraña trabajando en su taller (Dr, Piraña working in his studio)
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
untitled
Model
Peteka
Caracol
Zapatos
 
 
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Adivina cuál es, box behind art work by Franco Aceves Humana
Adivina cuál es, box behind art work
encaustic and dry point on acrilic support
2006
32" x  24"  x 2" 
Pinto mi raya, obra de Wolfgang Benavides by Franco Aceves Humana
Pinto mi raya, obra de Wolfgang Benavides
encaustic and dry point on acrilic support
2006
44 1/2" x  44 1/2"  x 3" 
Agua de riñón (kidney water) by Franco Aceves Humana
Agua de riñón (kidney water)
encaustic and dry point on acrilic support
2006
32" x  24"  x 2" 
Tríptico, by Wolfgang Benavides by Franco Aceves Humana
Tríptico, by Wolfgang Benavides
Fresco
2006
8" x  28"  x 1" 
El dr. Piraña trabajando en su taller (Dr, Piraña working in his studio) by Franco Aceves Humana
El dr. Piraña trabajando en su taller (Dr, Piraña working in his studio)
encaustic and dry point on acrilic support
2005
24" x  24"  x 3" 
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation) by Franco Aceves Humana
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
brou de noix, charcoal and pencil on paper
2007
11" x  15" 
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation) by Franco Aceves Humana
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
brou de noix, charcoal and pencil on paper
2007
11" x  15" 
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation) by Franco Aceves Humana
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
brou de noix, charcoal and pencil on paper
2007
15" x  11" 
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation) by Franco Aceves Humana
Dr. Piraña's original drawing (from the collection of the Almita & Augusto Piraña Foundation)
brou de noix, charcoal and pencil on paper
2007
11" x  15" 
untitled by Franco Aceves Humana
untitled
Fresco
2007
15 3/4" x  15 3/4"  x 2" 
Model by Franco Aceves Humana
Model
Fresco
2007
15 3/4" x  15 3/4"  x 2" 
Peteka by Franco Aceves Humana
Peteka
Fresco
2007
8" x  8"  x 1 1/2" 
Caracol by Franco Aceves Humana
Caracol
Fresco
2007
8" x  8"  x 1 1/2" 
Zapatos by Franco Aceves Humana
Zapatos
Fresco
2007
8" x  8"  x 1 1/2" 

Artist Statement
We can find in history many experiments whose focus is the idea or discourse of the author more than the work of art, or vice versa. Sometimes the emphasis is on the object and sometimes on the idea. This has gone so far as to, in my view, create instances that are nothing if hilarious. Thus, there is be nothing peculiar about thinking that the empty chair the museum guard left when going into the bathroom can be or not a work of art. In this sense, the remains of a performance are made to look as works of arts, as if they were some kind of relic. For example, if an artist burns newspapers, the exhibit consists of photographs or videos depicting the action and also a display of the ashes that are made to look as a work of art in itself, thus able to be sold at very high prices. It is my view that the ashes are not a work of art, but souvenirs of the art object that is in fact the performance. In this manner we can see that on many occasions that which is exhibited is not of interest, the important fact is that it should be legitimized.

It is my view that any value –I am not thinking in monetary terms- we bestow on an artistic object hangs from a very thin string. The question is, how do we decide when something is art? The dividing line between a work of art and that which is not, or that which is fine art and mediocre art, is very confusing. The focus of my work is this frontier and the surrounding territory that serves to legitimize it.

Due to this prevailing ambiguity, an object can both be displayed in an altar or take its place in the garbage heap. I focus my work with humorous and sometimes satiric vent on existing works of real authors or invented works of fictitious authors, or on the work of real persons whose intention was to create art. My purpose is to make the spectator hesitate between what is real and what is not, and thus, to question the validity of the artistic object and the systems that define it as such.

Artist Bio / CV
Franco Aceves Humana. (México en 1965). Ha expuesto de forma individual en galerías de E.U.A. Costa Rica, Italia. España y por supuesto México, donde también lo ha hecho en importantes museos.

Ha participado en más de 80 exposiciones colectivas tanto en México como en el extranjero, entre las que se incluyen varias bienales nacionales e internacionales. Su obra forma parte, entre otras, de las siguientes colecciones públicas: Museo Nacional de la Estampa, México D.F, Instituto de Artes Gráficas de Oaxaca, Oaxaca, México, Museo de Arte Contemporáneo Carrillo Gil, México D.F, Museo Universitario Contemporáneo de Arte, UNAM, México D.F, Museo de Arte Moderno, México D.F.