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Eduardo Cervantes (b. 1966, Guadalajara, Mexico), is an artist whose multi-disciplinary work includes site-specific installation, video, sculpture, drawing, painting, assemblage and anything that offers experimental and aesthetic possibilities. His approach is characterized by a critical and poetic discourse that regularly includes series of studio work next to contingent and space related pieces involving the spectator and reflecting on the constructive process. There is a dystopic state, angular and non sequitur that pervades through all the work, it resists categorization and repels a monolithic framework. The formal diversity of this work is centered on an anthropological deliberation that runs against the reductionism of sociological discourse. Preferring instead a twisted and open rhetoric expressed in series, inversions, blanks and negative spaces.

His paintings bring the opposites together in a small series of Post-Industrial monochromatic landscapes. Where things froze up at the intersection with a multiplicating nature. Time is trapped in artificial and stationary scenes of an intervened and possibly exhausted nature. In other works, a dematerialized city is projected over an erosioned and weightless body, as with his sculptures equally subversive, made with reclaimed and questionable materials. A compressed temporality and a voluntary scarcity of elements toward a minimalist palette. His installations are constructed deliberately ephemeral, site specific, soon reentering an inventory of things, objects and ideas, that could be re-used at any other point.

His work has received relative acknowledgement, while being crucial in the understanding and development of post conceptualism and alternative media within certain groups of peer artists.

His unorthodox practice posits Mr. Cervantes within a large generation of Latin American artists from the mid nineties that broke away from the nationalist status quo of identity, and held a very broad approach to the practice of art. Eminently conceptual, iconoclasts and operating primarily as Institutional Critique.

Eduardo Cervantes has lived and worked mostly in Brooklyn, New York since year 2000.

-Thomas Lee Schneider.
Brooklyn, N.Y. 2016


IV Havana Biennale, Cuba (1993). Institute of Mexico in Paris, France (2005). Eventa V, Ekeby Quarn Biennale, Upsala, Sweden (2000). XIV Biennale Rufino Tamayo, Mexico (2008). The Bronx Museum of the Arts N.Y. (2006 and 2012). "On the Periphery" Brooklyn Public Library (2019). The Museum of Modern Art, Mexico City (2003). Walter McBean Gallery at San Francisco Art Institute (1996). Kentler International Drawing Space, Brooklyn NY (2002). Carrillo Gil Museum, Mexico City (1995, 1999, 2000). Museum of Contemporary Canadian Art, Toronto (2004). Museo Universitario del Chopo Mexico City (1995). Dumbo Arts Center (2002). The
Ukranian Institute of Chicago (2004). El Hospicio Cabanas, Gdl. Mex (2006-2008). The Gathering of the Tribes, NY (2007). Track 16 Gallery, Santa Monica, California (1999). Blue Star Art Space, San Antonio Texas (1993).
He has participated in programs at the Drawing Center NY (2007), Smack Mellon Artist Studio Program, Brooklyn, NY.(2006-07). AIM 26 (2006) at the Bronx Museum of the arts, Bronx NY.


-"Materia animada". 1994, Galeria Jorge Alvarez, Gdl. Mex.
-"Inspeccion Aeronautica". 1996, Galeria OMR, Mexico City.
-"Antiguos Fantasmas Irreductibles", 1998, Galeria Arena Mexico, Gdl. Mex.
-"A New Man", 2007, Real Form Project Space. Brooklyn NY
-"Keraunothnetophobias", 2008, Heskin Contemporary, Hell's Kitchen N.Y.
-"An Essay on Objection" 2016, Lumpen Perseus Ltd. Brooklyn N.Y.