Tint on paper and stickers

Many of his paintings which concern sex and/or the human condition are disquieting in their comic brutality. I think we should view these works not in a marginal way but rather as an invisible center – a subliminal center as that of advertising images – as its principal genarator.

Advertising images of the simple and good life are horrible their function is to make us insecure, continually poor in relation  to an unachievable standard of living but essential to our well being. And these images do not stop. Jimenez’ humoristic paintings finally burst, as the teater of cruelty. They remind us of Picasso’s Guerninca but taken to another logic. He is a witness without a court or jury to which to report – a Mexican sense of humor, not as cruel as Spanish  humor (Cervantes) and not sentimental, except for it strange sense of attraction (which I would call “love”).

This humor colors his work and although it creates a distance between the work and the public, there exists a kind of solidarity betwwen the artist and the viewer.

His work is a hybrid between painting and sculpture. The painting aspect tends to speak or argue with itself with areas of discord, transporting it forcefully to another area. In every way a dance succeeds it. Cisco makes the frames for his paintings (or I should say there are elements that pretend to be frames), in a similar way that his maps and plans for nuclear plants pretend to be representative of an official reality. These begin a new set of discussions and agreements that force painting to admit that it is an “object”.

Jimmie Durham
Berlin, 2001.

Ceramics

My work is fundamentally an inquiry into the contrasts of Latin American culture and society, from its prehispanic origins to the complicated themes of politics, the economy, popular expressions and the creativity of survival. It also explores the tensions that exist between high art and popular art, folklore and mass culture, predatory politics and religious manipulation, and economic monopolies and the culture of drug trafficking.

These energies are the basis to articulate metaphors into a kind of “ironic debris”, as ARTNEWS magazine described. The context for the gestation of the work is of crucial importance. One in which the anthropologic vision that preceeds the aesthetic proposition and all its possible implications manifests itself in a variey of disciplines.

Another important aspect of the work is humor, from the most simple and superficial to the picaresque irony that reaches insolence. Humor and paradox are a constant in Latin American life as in the case of Mexico. With humor comes the political criticism and social rancor that become the binding element in my drawings, collages, paintings and objects.

Cisco Jiménez
2017