An Inuit myth is recounted in an opium smoker’s dream. The story’s central figure is a seal hunter
whose father was killed by European whalers after trading goods. A spell has made him invisible to
Europeans. The film is steeped in the idea of collage, through which Amorales refers to the costumes
and sets designed by the Russian artist Kazimir Malevich (1879–1935) and to the theories of the
German artist Joseph Beuys (1921–1986). The actors are Philippe Eustachon and Amorales’s own
sons.

The Eye Me Not
2015 HD Film, color, with sound, 40 min.

Through the dream of an opium addict, the film revisits an Inuit myth where the protagonist has become invisible to European traders with whom he tries to trade goods. This narrative is intermixed with a rich variety of sources: paintings, costumes and set designs by Russian Suprematist artist Kazimir Malevich, strains of pedagog- ical and political theory articulated by Joseph Beuys, as well as the controversial texts by Chilean writer Manuel Serrano. The idea of collage permeates the entire project; opening new associative and narrative possibilities.

Carlos Amorales (Mexico DF, 1970) exhibits at kurimanzutto “El Esplendor Geométrico”, a series of twelve collages that incorporate color for the first time into his work. Based on smaller compositions made with color paper samples, these large-format works present collage as an action or as a verb. Beyond its definition as pictorial technique, collage is introduced as a tool to construct meaning.

Despite their apparent abstraction, the works on view recall landscapes; different shades suggesting the passage of time and seasonal changes of light. In this exhibition, Amorales proposes a discussion about temporality through the use of form and color.

In addition to the collage works, there will be a screening of “El No Me Mires” (2015), the third and final film in the trilogy consisting of “Amsterdam” (2013) and “The Man Who Did All Things Forbidden” (2014). For this final installment, Amorales wrote a script that articulates the idea of a cinematic collage: through the dream of an opium addict, the film revisits an Inuit myth where the protagonist has become invisible to European traders with whom he tries to trade goods.

This narrative is intermixed with a rich variety of sources: paintings, costumes and set designs by Russian Suprematist artist Kazimir Malevich, strains of pedagogical and political theory articulated by Joseph Beuys, as well as the controversial texts by Chilean writer Manuel Serrano. The idea of collage permeates the entire project; the actors themselves used collage cutouts as props and scenic backdrops as they developed a symbolic language of their own, opening new associative and narrative possibilities. The film will start at 11 am and will be screened every hour.

Amorales’ films always begin with a rigorous research process, which, in addition to infusing the works with life and substance, places each project within a particular historical and political narrative. One of the results of this process was the conceptualization of an artistic vanguard: Ideological Cubism. Amorales and his studio created a manifesto for this movement, addressing the possibility of seeing multiple perspectives simultaneously, as well as the need to actualize anarchy.

At the opening of El Esplendor Geométrico, Philippe Eustachon, one of Amorales’ film collaborators, will present a performance to illustrate Ideological Cubism, incorporating a text that juxtaposes extracts of the most famous avant-garde manifestos of the twentieth century. This exercise combines the principles of Futurism, Surrealism and Dada, as well as proposals by Lucio Fontana and the Grupo Cero – each of these marked by political difference – in order to highlight the failed state of democracy and its reduction to “left,” “center” and “right” wing politics.