la bestia (copia)
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la bestia (copia)
ROBERTO ARAMBULA
.Arámbula's recent work emerges from a process in which control gives way to something less predictable. What forms is not planned but discovered. The works that follow are an ongoing inquiry into what painting can hold when the outcome is left open
THE WORKS ARE PAINTED. EACH ONE IS MADE BY SUBMERGING STICKS AND OBJECTS IN PAINT AND RELEASING IT ONTO THE CANVAS LAID ON THE FLOOR. THROWING, DRIPPING, LETTING IT FALL. GRAVITY, TRAJECTORY, AND THE ARC OF THE GESTURE DETERMINE WHAT FORMS. THE IMAGE EMERGES FROM CONDITIONS THAT CANNOT BE FULLY CONTROLLED OR ANTICIPATED.
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OIL ON CANVAS SERIES
In 2019, researchers documented for the first time sperm whales sleeping vertically near the ocean surface. That same year, Aleppo lay in ruins. The Methuselah tree has been alive for nearly five thousand years. These are facts. The paintings do not illustrate them — they place them in relation.
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La Bestia
IN ROBERTO ARÁMBULA’S 2012 PROJECT LA BESTIA, THE ARTIST ADDRESSES SOCIAL, POLITICAL, AND ECONOMIC GRIEVANCES AND SHARES WITH US HIS PERSPECTIVE ON THEIR COMPLEX GLOBAL INTERCONNECTIONS.
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The Dollar of Ignorance is a live performance during the G20 Summit in Hamburg, 2017. Arámbula released his Dollar of Ignorance into a confrontation between protesters and the police.
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The Pavilion of the Accused
This series of thirteen large-scale oil paintings presents capitalism as an unquestioned dogma—a secular faith that reduces the meaning of existence to consumption. The portraits feature powerful animals as masks, revealing hidden hierarchies and impulses, while ironic use of advertising mascots and logos personifies capital as an unchallengeable authority. Central to the series is a pelican—symbolizing sacrifice—reimagined from Leonardo da Vinci’s Salvator Mundi, holding a crystal ball bearing the World Bank logo. The works critique capitalism’s role as a new messianic force shaping global power and truth.
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THIRD CHAPTER
PORTRAITS
OIL ON CANVAS
At night, a freight train travels through Guadalajara heading north. On the moving train, excerpts from a documentary about migrating gnus are projected. The projection merges with reality: animals crossing a river intertwine with people trying to jump onto the train. The installation creates a powerful analogy between the animal world and human society, highlighting the universal experience of migration.
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