Abraham Cruzvillegas’ artistic process is deeply influenced by his surroundings. Rather than being defined by a particular medium, many of his projects are linked by the platform of autoconstrucción – a concept that draws from the ingenious, precarious and collaborative building tactics implemented by the people living in Colonia Ajusco, his childhood neighborhood in Mexico City. He appropriated this term in relation to his practice to describe an approach of inventive improvisation and instability, which presents change as a permanent state arising from the chaotic and fragmentary nature of life. The evolving notion of autoconstrucción has in turn yielded different approaches such as autodestrucción and autoconfusión. These inquiries have led him to explore his own origins and to collaborate with family and friends in a very personal form of research, one that results in a constant process of learning: about materials, landscape, people and himself.
Cruzvillegas studied pedagogy at the Universidad Nacional Autónoma de México from 1986 to 1990 in Mexico City while simultaneously attending Gabriel Orozco’s Taller de lo viernes. He has been the recipient of many awards, including the 5th Yanghyun Prize (2012), as well as the Prix Altadis d’ arts Plastiques (2006). His most important projects and exhibitions include: The Water Trilogy, Ginza Maison Hèrmes Le Forum, Tokyo, Japan (2017); Autoconstriction approximante vibrante retroflexe, Carré d’art musée d’art contemporain de Nîmes, Nîmes, France (2016); Empty Lot, Tate Modern, London, United Kingdom (2015); MALI in situ: Abraham Cruzvillegas, Museo de arte de Lima, Lima, Peru (2015); Autoconstrucción, Museo Jumex, Mexico City, Mexico, and Museo Amparo, Puebla, Mexico (2014); Abraham Cruzvillegas: The Autoconstrucción Suites, Haus der Kunst, Munich, Germany (2014) and Walker Art Center,