Mexico’s Mario García Torres
explores the strange sideroads
and deadends of art historyTo t a l
recall
In September 1969, the American magazine ArtNews
published a cryptic feature about a young, overlooked
artist named Oscar Neuestern. It described the rare
amnesic condition he sufered, which prevented him
from remembering his work from any previous day,
and so opening his practice to perpetual reinvention.
‘Why was I telling you this story?’ asks Mario García
Torres, frowning, as if his own memory was suddenly
failing him. The Mexican artist is gearing up for his
irst US survey at Minneapolis’ Walker Art Center. It
features some 35 works – old and new – spanning video,
photography, installation and performance. ‘I’m happy
not remembering things,’ he concludes. ‘Without
memory, you can experience things in a diferent way,’Artist Mario García Torres
on the roof of his
studio in the Chapultepec
district of Mexico Cityhe says, a nod to Marcel Duchamp’s claim that he
desired to live without memory.
As it turned out, Oscar Neuestern was a product
of iction – a satirical swipe at early conceptualism.
García Torres stumbled across the article by chance
at CalArts’ Library in Los Angeles, where he studied
in the early 2000s. And it had a profound efect.
‘I started to realise what the power of iction was,’ says
the artist, now 43. Soon, he would turn the anecdote
into art: The Transparencies of the Non-act (2007), a silent
visual work made of black and white slides, questioning
the role of artists in the building of history.
The appropriation of narratives has since becomea central strategy for García Torres to examine the (^) »
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PHOTOGRAPHY: ELI DURST WRITER: BENOÎT LOISEAU ∑ 091