Miguel Angel Rios

Miguel Angel Rios | the artist

The artist Miguel Angel Rios
Born 1953, Catamarca, Argentina.
Lives and works in New York, USA and Mexico City, Mexico, .
Style and technique of the artist: Sculpture Objects, Sydney Biennale, Video,

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Miguel Angel Rios
On the Edge, a two-channel video by Miguel Angel Rios, involves a large number of spinning tops distinguished by color. The installation immerses the audience within the frenetic activity and sound of the whirling of spinning tops. The random interaction between the spinning tops is choreographed to insinuate the struggle for power in society. White spinning tops are dominant and take the central stage preventing the access of “others” that are subordinate to them by patrolling their territory by spinning back and forth. Meanwhile, the subordinate black spinning tops come from a lower level and attempt to access the higher ground controlled by the white ones. On the Edge stages a dangerous game as a metaphor for the battle for social supremacy…

Miguel Angel Rios
A Morir (’til Death) by Miguel Angel Rios in collaboration with Rafael Ortega will consist of a three-channel video installation shot in Tepoztlan, Mexico; the work focuses on a popular street game called "trompos" that involves spinning tops. Viewed from multiple perspectives, the video begins with one spinning top and culminates in a cacophonous profusion of numerous tops in a single game that includes thirty of the most skilled players in town, aged 14 to 50…

Miguel Angel Rios review
When you begin to fear that you have become a cartoon, your once complicated moods and features reduced to simple one-liner clichés and flattened outlines, and your world increasingly resembles a television spectacle, do you still stand a chance of making a difference in that very world? LA-based Kori Newkirk and Argentina-born Miguel Angel Rios, in their respective works RANK and Crudo (both 2008) exhibited together at LA >< ART, both addressed the individual’s struggle for authority and identity in the face of the spectacular…

Miguel Angel Rios
In presenting visual metaphors, 16th and 17th century northern European artists sought to examine via a spiritual lens the vanity of human attachment to worldly pleasures and the brevity of life. In foregrounding meat, that which sustains us and of which we are, we can trace a direct line from Aertsen's Meat Stall to Carolee Schneemann's performance Meat Joy (1964). Yet, this tradition depends on meat's ability to evoke nourishment and death, and on art's ability to preserve or facilitate the rotting.8 What is unique about Rios's use of meat is how it is neither preserved nor rotting, it neither decays nor causes decay. We do not even see the meat being eaten by the dogs. Instead, it is blurred in motion and disappears in the visual dance. It is as if to say that, magically, nothing truly uncivilized can happen within the frames of this work, for it would surely be choreographed away. Nothing compromising would ever make the cut of this virtuoso artwork…

Miguel Angel Rios

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