Teresa Margolles, Muerte sin fin, exh. cat., Museum für moderne Kunst, Frankfurt (24 April – 15 August 2004), Ostfildern-Ruit, Hatje Cantz, 2004→
Teresa Margolles El testigo, exh. cat., Centro de Artes Dos de Mayo, Móstoles (18 February – 25 May 2014), Móstoles, Centro de Artes Dos de Mayo, 2014→
Banwell Julia, Teresa Margolles and the aesthetics of death, Cardiff, The University of Wales Press, 2015
Teresa Margolles, Caida Libre, FRAC Lorraine, Metz, 5 March – 1 May 2005 ; CAC Brétigny, Brétigny, 13 March – 9 July 2005→
Teresa Margolles: Mundos, Musée d’art moderne et contemporain, Saint-Etienne, 16 February – 14 May 2017→
Teresa Margolles, tu t’alignes ou on t’aligne, BPS22, Musée d’art de la province de Hainaut, Charleroi, 28 September 2019 – 5 January 2020
Mexican visual artist.
The work of Teresa Margolles is troubling and fascinating, questioning the borders between death and life. Her videos, installations and paintings transcend social taboos offering a reflection on violence, disappearance and their relationship to Mexican society. The artist first worked in a morgue in Mexico before founding the group Semefo (a name borrowed from the Mexico’s official forensic medical service), known for their controversial performances and installations in which fragments of cadavers and photographs of decomposing humans became recurring elements in her artistic investigations. Distancing herself from these raw and explicit early works as a simple documentary aspect, she distorted death and its causes and avoided exhibiting violence to implicitly play with the inconscient strength of the viewer’s imagination.
Made from the blood of the death, the water used to clean bodies and fragments of windshields gathered from crime scenes in Mexico, her works reveal what seems to have become the new everyday banality. T. Margolles reconnected with the aesthetic of minimal art to avoid reproducing barbarism in a society “already submerged in images of horror”. In 2009, she represented Mexico at the Venice Biennale with ¿De que otra cosa podriamos hablar?, an assemblage of elements selected from murder scenes committed by drug traffickers from Sinaloa in northern Mexico, close to the border with the United States.
Teresa Margolles, Esta finca no será demolida [This property will not be demolished], 2011, set of forty chromogenic color prints, 65.58 x 102.87 cm, Collection Albright-Knox Art Gallery, Buffalo, © Teresa Margolles
Teresa Margolles, 36 Cuerpos [Bodies], 2010, installation, remains of threads used during autopsies to sew the bodies of victims of a violent death, variable dimensions, © Teresa Margolles
Teresa Margolles, Bandera I [Flag I], 2009, fabric, blood, earth and other substances, 298 x 188 cm, Tate, © Teresa Margolles
Teresa Margolles, La Promesa [The Promise], 2012, sculptural block made from the pulverized rubble of a demolished house in Ciudad Juárez, Mexique, 15 tons, 55 x 80 x 1600 cm, Museo Universitario Arte Contemporan, © Teresa Margolles
Teresa Margolles, Pista de baile del club Apache [Dance Floor from the Apache Nightclub], 2016, pigmented inkjet print, 120 x 180 cm, MoMA, © Teresa Margolles
Teresa Margolles, Tela bordada [Embroidered fabric], 2012, traditional Mayan embroidery made on fabric by indigenous activists from Guatemala, 202 x 206 cm, Musée des beaux-arts du Canada, Ottawa, © Teresa Margolles