Broken Time

General Idea
October 27, 2016 – February 12, 2017

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Index Cards, 1969–70

Typescript or handwritten on ruled index cards

 

Photo © Andrea Rossetti

Index Cards, 1969–70 (detail)

Typescript or handwritten on ruled index cards

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Double Mirror Video, 1971

Black and white video, sound

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Mimi, 1968-1969

Fluorescent acrylic and latex paint on canvas

 

Photo © Andrea Rossetti

The 1971 Miss General Idea Pageant Documentation, 1971

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

V.B. Gown #3, 1975 (left)

Enamel coated aluminum, steel on rubber

 

V.B. Gown #5, 1975 (right)

Enamel and chrome plating; enamel plating on aluminum with steel chains

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Reconstructing Futures, 1977 

14 photomontage panels, 2 vinyl-upholstered seats, 2 marble and steel barbells, synthetic carpet, 2 copper- and metal-plated lamps, 6 perforated steel panels, recorded soundtrack, tape recorder, 4 fluorescent light tubes

 

Showcard Series, 1975 (back)

45 cards (chromogenic or gelatin silver print, felt pen and screenprint on paperboard)

 

Photo © Andrea Rossetti

Reconstructing Futures, 1977 

14 photomontage panels, 2 vinyl-upholstered seats, 2 marble and steel barbells, synthetic carpet, 2 copper- and metal-plated lamps, 6 perforated steel panels, recorded soundtrack, tape recorder, 4 fluorescent light tubes

 

Photo © Andrea Rossetti

Reconstructing Futures, 1977 (detail)

14 photomontage panels, 2 vinyl-upholstered seats, 2 marble and steel barbells, synthetic carpet, 2 copper- and metal-plated lamps, 6 perforated steel panels, recorded soundtrack, tape recorder, 4 fluorescent light tubes

 

Photo © Andrea Rossetti

Reconstructing Futures, 1977 

14 photomontage panels, 2 vinyl-upholstered seats, 2 marble and steel barbells, synthetic carpet, 2 copper- and metal-plated lamps, 6 perforated steel panels, recorded soundtrack, tape recorder, 4 fluorescent light tubes

 

Photo © Andrea Rossetti

Mondo Cane Kama Sutra, 1984 

 

Cave Canem: Calendar Wall Fragment from the 1984 Miss General Idea Pavillion, 1984

154 tiles arranged into one panel in 13 rows of varying number of tiles, aniline dye on plaster


P is for Poodle, 1983/1989

Chromogenic print (Ektachrome)

 

Photo © Andrea Rossetti

Cave Canem: Calendar Wall Fragment from the 1984 Miss General Idea Pavillion, 1984

154 tiles arranged into one panel in 13 rows of varying number of tiles, aniline dye on plaster

 

Photo © Andrea Rossetti

Cave Canem: Calendar Wall Fragment from the 1984 Miss General Idea Pavillion, 1984 (detail)

154 tiles arranged into one panel in 13 rows of varying number of tiles, aniline dye on plaster

 

Photo © Andrea Rossetti

Mondo Cane Kama Sutra, 1984 

 

Photo © Andrea Rossetti

El Dorado, 1992 

Set of 9 paintings, tinted hydrostone on extruded styrene foam

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Maracaibo, 1991

Set of 10 Chronomogenic prints (Ektachrome)

 

Photo © Andrea Rossetti

One year of AZT, 1991 

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Black AIDS #3 (a.k.a. AIDS (Reinhardt) #3), 1991

 

Blan© Blan© Blan©, 1991 (on the wall)

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Fin de siècle, 1990

Installation of expanded polystyrene with three stuffed faux seal pups, acrylic, glass, and straw

 

Photo © Andrea Rossetti

Fin de siècle, 1990

Installation of expanded polystyrene with three stuffed faux seal pups, acrylic, glass, and straw

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Exhibition view

Broken Time, 2016–17

Museo Jumex, Mexico City

 

Photo © Andrea Rossetti

Broken Time

General Idea
Museo Jumex, Mexico City
October 27, 2016 – February 12, 2017
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Broken Time is the first retrospective in Latin America of the Canadian group General Idea. Throughout its 25-year-long career, the group–AA Bronson (b. Michael Tims, Vancouver, Canada, 1946), Felix Partz (b. Ronald Gabe, Winnipeg, Canada, 1945 – d. Toronto, 1994) and Jorge Zontal (b. Slobodan Saia-Levy, Parma, Italy, 1944 – d. Toronto, 1994)–produced an important body of work in various media and formats, which continues to be a reference point for generations of artists around the world.

 

Curated by Agustín Pérez Rubio, the exhibition surveys the artistic trajectory of General Idea, touching upon topics such as archaeology, history, sex, race, illness, self-representation, and the myth of the group itself, a recurring subject of their production. The exhibition gathers more than 120 works in all formats, including performance, video art, photography, publications, installations and the multiple editions of mass consumer objects.

 

This project aims to broaden the horizon of their legacy, encompassing their first collaborative pieces in 1969 and 1970, and their last works in 1994 before Partz and Zontal’s deaths from AIDS-related illnesses. The show focuses on the concept of the alteration of time, the ephemeral and the creation of a myth through the group’s relationship with advertising, design, fashion, beauty pageants and mass media. One of their well-known bodies of work is their edition of FILE magazine between 1972 and 1989, an appropriation of the design of famous LIFE magazine that involved the collaboration of some of the most radical artists of the time such as “Art & Language”, writer William Burroughs and the bands Talking Heads and The Residents, among others. General Idea were pioneers in incorporating the issue of AIDS to create a logo that was used in many of their works. The exhibition will also present experimental projects from the 1960s and 1970s, such as Miss General Idea 1984Miss General Idea PageantMiss General Idea Pavillion and the group’s large installations with pills, which will bring to the audiences the social and political dimension of these works.

 

General Idea produced more than one hundred solo exhibitions and participated in 150 collective groups internationally in Paris, Sydney, the Venice Biennale, and Documenta in Kassel. In Latin America the artists only exhibition at the 1998 Sao Paulo Biennial, and this exhibition offers Latin American audiences a new approach to their work, which is already a legend.

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