Mongo Army

source: artnewsorg
Between the October 26th, 2007 and the November 26th, 2007, the Peruvian artist Gabriel Acevedo Velarde uploaded one video per day in the YouTube. These videos are the point of departure for Marathon, the artist’s second solo show at Galeria Leme.
The exhibition’s central piece is a performance, an act, which he artist describes as a middle point between a multimedia show – in which he mixes the reading of texts, acting fragments of fictitious situations, singing, music playing and the re-mixing the YouTube videos with unreleased material – and a work presentation, a talk.
Acevedo arrives in Brazil one month before the exhibition’s opening, on the 27th of February. Thus, Marathon will also be a partial result of this one-month residency in São Paulo.
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source: galerialeme

O trabalho de Gabriel Acevedo Velarde se reflete em áreas nas quais as experiências com objetos e situações resultam na materialização de limites. Seus projetos mais recentes referem-se as relações entre indivíduos e instituições, como a de um estado e um cidadão. Usando o apelo formal de objetos quase sem identificação, como uma peça de metal concava utilizada em caixas de banco, Gabriel se refere ao conhecimento de nossa própria cumplicidade como ponto de partida para qualquer critita politica.
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source: moriartmuseum

Gabriel Acevedo Velarde (born 1976) from Lima, Peru, studied art in Lima as well as in Mexico City, and is currently based in Berlin. He has gained prominence for his unique works that include videos, drawings, three-dimensional objects and installations. His work has been shown throughout South America, the United States, Europe and other places in the world. This exhibition marks the first time his work will be introduced in Japan, and both Escenario (2004), highly-acclaimed animation work at the Lyon Biennale in 2011, and his new video work Decreto 882 will be on display.

Acevedo has an interest in the nature of what exists in the gap between organizations and individuals. The three-dimensional objects he creates, for example, appear as if they had functionality, like the tools and devices often found in public spaces such as government or commercial offices. In Escenario, one of his works shown at this exhibition, at first glance seemingly bright and comical, he eerily portrays an image where the different effects of such things as power,　violence, submission and assimilation that occur between groups and individuals are evoked. The newly-commissioned work for this exhibition, Decreto 882 was shot at the Museum of Natural History, Lima. Images of children visiting the museum interspersed with a mysterious light appear on the screen, creating a mood that is unsettling. Against the background of the public space that is a museum, Acevedo, with his unique touch, highlights the precarious relationship between the institutional and the individual.
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source: themodernorg

Peruvian-born artist Gabriel Acevedo Velarde recently embarked on a gradual move from Lima, Peru, to Mexico City to São Paolo, Brazil, and then to New York and Berlin. He uses experiences from his travels to inform his multimedia installations as featured in the Modern’s second FOCUS exhibition of 2010. Acevedo Velarde organizes his diverse artistic practice into projects that differ dramatically in terms of materials, technique, and presentation, but share an astute portrayal of the human condition, looking at the psychology of self-preservation within the precarious fragility of community and civilization. The artist touches on the driving force in his work with a description of one particular project, “The subject is a system that tries to keep standing despite its inner chaos, decadence, and most of all, its wild will for change.” For Tuesday Evenings, Acevedo Velarde discusses his methodology and the resulting performances, installations, films, and drawings that have been acknowledged for their elaborate preparation of seemingly simple forms that offer both humor and horror.