The Mexican artist Pablo Vargas Lugo studied at the National School of Arts of the National Autonomous University of Mexico. He belongs to a generation of Mexican artists who became well known on the international scene from the 1990s onwards.
Vargas Lugo’s works are multidisciplinary and he regularly uses drawing, sculpture, collage and sculpture in his oeuvre. He questions the objectivity of the knowledge systems implemented globally by modern thinking. Juxtaposing geometry and nature, history and literature or science and magic, Vargas Lugo re-writes the codes imposed by a modernity that establishes a separation between experience and reason, and does so with clever humour. The curator and critic Cuauhtémoc Medina explains that ‘contemplating a work by Vargas Lugo means being prepared to experience an oblique way of thinking, as unfathomable in its origins as it is commonplace in its references’.
In the Entanglements (2005) — Indo-Brazilian Entanglements and Mexican-Congolese Entanglements — series of drawings, Vargas Lugo observes the systems for mapping territory, producing strange forms from the fusion — and the entanglement— of the outlines of different countries. These geographies become even more exceptional through the strokes with which the artist demarcates his new territories; lines that conjure up forms that are interchangeably ribbons, wires, ropes or even umbilical cords.
Pablo Vargas Lugo’s work has been shown at such leading venues as the Tamayo Museum (Mexico City, 2014); the Amparo Museum, (Puebla, Mexico, 2014); the Jocelyn Wolff Gallery (Paris, 2013); the LABOR Gallery (Mexico City, 2013); El Eco Experimental Museum (Mexico City, 2012); and Los Angeles County Museum of Art (Los Angeles, United States, 2005).
The Mexican artist Pablo Vargas Lugo studied at the National School of Arts of the National Autonomous University of Mexico. He belongs to a generation of Mexican artists who became well known on the international scene from the 1990s onwards.
Vargas Lugo’s works are multidisciplinary and he regularly uses drawing, sculpture, collage and sculpture in his oeuvre. He questions the objectivity of the knowledge systems implemented globally by modern thinking. Juxtaposing geometry and nature, history and literature or science and magic, Vargas Lugo re-writes the codes imposed by a modernity that establishes a separation between experience and reason, and does so with clever humour. The curator and critic Cuauhtémoc Medina explains that ‘contemplating a work by Vargas Lugo means being prepared to experience an oblique way of thinking, as unfathomable in its origins as it is commonplace in its references’.
In the Entanglements (2005) — Indo-Brazilian Entanglements and Mexican-Congolese Entanglements — series of drawings, Vargas Lugo observes the systems for mapping territory, producing strange forms from the fusion — and the entanglement— of the outlines of different countries. These geographies become even more exceptional through the strokes with which the artist demarcates his new territories; lines that conjure up forms that are interchangeably ribbons, wires, ropes or even umbilical cords.
Pablo Vargas Lugo’s work has been shown at such leading venues as the Tamayo Museum (Mexico City, 2014); the Amparo Museum, (Puebla, Mexico, 2014); the Jocelyn Wolff Gallery (Paris, 2013); the LABOR Gallery (Mexico City, 2013); El Eco Experimental Museum (Mexico City, 2012); and Los Angeles County Museum of Art (Los Angeles, United States, 2005).