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Antonio Macotela, The chisel and the sinkhole, 2017. Sculpture. 220 x 210 x 170 cm. Metal, used mining tools, iron and wood. Courtesy of the artist.

Antonio Macotela, Time Exchange 291, 2009. 23 x 13 x 12 cm. Carved book. Courtesy of the artist.

The Mill of Blood 2017. Sculpture, 900 x 900 x 700. Metal, wood, sensors and cryptocyrrency mining equipment. Courtesy of the artist.

Antonio Macotela, Time Exchange 318-321, 2010. 279.5 x 68.4 cm. Ink on paper. Courtesy of the artist.

Antonio Macotela works across a variety of mediums to explore what constitutes labour, both in terms of time and energy and correspondingly in value and exchange. He often works within specific contexts and communities that are representative of varying socio-economic structures and modes of currency. He uses art as an instrument within these conditions, to both be informed by and affect change in individuals and environments through dialogue, negotiation, intervention and appropriation.

During his residency at Gasworks, Antonio will conduct research into plans and traces left of machinery used during the industrial revolution in London. The basis of this inquiry lies in La plaga gris (‘The Grey Goo’) (2017- ), a research project that began with the work, El molino de Sangre’ (‘The Mill of Blood’) (2017), commissioned by dOCUMENTA 14. La plaga gris is a formal and conceptual exploration on the machinery and structures built during the period of European expansion and colonialism as a metaphor of current economic value production systems. The project focuses on the mills where three materials were exploited: silver, cotton and sugar between the 18th and the 19th centuries in the Americas.

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Antonio Macotela lives and works in Mexico City. He completed his Undergraduate studies in Visual Arts at Escuela Nacional de Artes Plásticas, Mexico City in 2014. His recent exhibitions include; dOCUMENTA 14, Kassel and Athens; Lecturas de un territorio fragmentado, Amparo Museum, Puebla; Statements, Artbasel; Condo, Gavin Brown’s Enterprise New York (all 2017); Amsterdam Art Weekend, Rijksakademie (2016); Art In The Age of Asymmetrical Warfare, Witte de With Contemporary art Centre, Rotterdam; It’s money Jim but not as you know it, Mario Marouner Gallery, Vienna; Deseos y Necesidades. Nuevas incorporacions a la Colección MACBA, MACBA, Barcelona; and There is only one catch and that is Catch-22, Y Gallery, New York (all 2016).

Antonio Macotela’s residency is supported by The Shelagh Wakely Bequest, administered by the Elephant Trust. He is hosted in the Juan Yarur Torres Residency Studio.

Shelagh Wakely (1932 – 2011), was a British artist whose experimental practice combined visual art, sculpture and design with architecture. Wakely travelled widely in South-America, with special interest in Brazil, and her residence in London became a meeting point for Brazilian and Latin American artists.

The Elephant Trust administers the Shelagh Wakely Bequest, and the Shelagh Wakely Residency has been created in partnership with Gasworks to provide an emerging artist from Latin-America with a three-month residency opportunity in London.