•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

SELECTED WORKS BY Oscar Murillo

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Oscar Murillo
Untitled

2011

Canvas, paper, spray paint, aluminium, oil stick

190 x 176 cm
This is an art of mutation. Materials migrate from one medium to another: a collection of biro drawings gets pulped to become the flooring of a complex installation where disparate objects convene as in an alchemist’s laboratory.
Recycled materials and mediums are gestures of adjustment that Oscar Murillo seems to have acquired from his border experience: born in Colombia and emigrating to London as a child, he had to adopt language, customs and cultural codes, being inescapably transformed by the unending process of migration.
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Oscar Murillo
I'd take you there but it doesn't exist anymore

2010-2011

Mixed media installation

approx. 4 x 5 m (dimensions variable)
If our mother tongue and the food that nourished us as children make us whom we are regardless of how far we travel, we can trace the reason behind the prevailing presence of foodstuffs – and written language – in Murillo’s oeuvre as a form of resilience. However, he does not treat the ornate coconut water packaging, the rice sacks and the snack wrappings as ready made in traditional conceptualist practice: he collages them up in an attempt to complicate art’s materiality and cultural coding. Furthermore, the packages are all written in Spanish, vestiges of the numerous imported goods that populate London’s South American markets.
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Oscar Murillo
Untitled

2011

Graphite, dirt on canvas, wood, steel

442 x 499 cm
They also seem to bastardise the Pop Art legacy in his work through material transgressions against the adequateness of the canvas support, which is in turn exposed to the dust and dirt collected from every day life in the studio.
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Oscar Murillo
Untitled

2011

Oil, oil stick, graphite, dirt on canvas

210 x 170 cm
In a similar spirit, his private views become traditional Colombian food gatherings that do away with the sterility of white cube cocktail rituals.
Is this contemporary disregard for the hierarchies of materials and the class-ridden art world a 21st century Povera manifesto in the times of economic uncertainty? Mixing and breaking the hierarchies of race, class, North–South, high and low, oil paint and dirt, Oscar Murillo unwraps a consciously composed wildness based on the stuff that life and art are truly made of.

Text © Gabriela Salgado
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Oscar Murillo
Untitled

2011

Oil, oil stick, graphite, dirt on canvas

220 x 170 cm
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Oscar Murillo
Untitled

2011

Oil, oil stick, graphite, dirt on canvas

170 x 190 cm
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Oscar Murillo
Untitled 2012

2012

Posters, steel, concrete casts, drawings, found footballs, brackets

250 x 300 x 200 cm
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Oscar Murillo
Dark Americano

2012

Oil and dirt on canvas

304.8 x 429.3 cm

ARTICLES

Boomerang; Oscar Murillo and Marianne Spurr
by Phillip Womack

After a day of editing, through the almost-rain to Aldgate East, where Hilary Crisp had put on a showing of Oscar Murillo and Marianne Spurr's work. Murillo's paintings stood casually as if they'd just been abandoned by the artist; two works by Spurr seemed to have organically appeared out of the floorboards. Murillo's paintings reminded me a little of Cy Twombley's; two of them leaning against a wall, one against the other, as if fighting against each other (or playing off each other) to get realised into the world. I was particularly struck by one of Spurr's pieces, which consisted of a cylindrical concrete bollard next to a slightly taller glass cylinder full of water, with a layer of oil; in the second cylinder was a black X on a gold background. The perspective made it look like a giant X was floating in the air, as if we were inside a treasure map. Gold in the everyday, indeed.

I also applaud the new practice of serving food at art openings - first there was Henry Hudson's pork roast; here there was arroz con lechona, which we ate out of cardboard boxes; (it's basically pork scratchings stuffed with rice.)

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Source:phillipwomack.blogspot.com