Jorge Satorre

Jorge Satorre
Jorge Satorre
Ciudad de Mxico, Mxico, 1979.
Vive y trabaja en msterdam, Pases Bajos.
Tras desarrollarsecomo ilustrador editorial, el trabajo de Jorge Satorre recupera y
pervierte mtodos propios de ese campo, en donde la comunicacin tcita establecida
entre creador, historia, imagen y lector/espectador sirven de punto de partida
para relacionarse y trabajar con la problemtica de los contextos especficos en
los que basa cada uno de sus trabajos.
Los modos escasos de presentacin que acostumbra utilizar, en donde la combinacin
de dibujo y texto funciona como medio principal, propician un tipo de trabajo que
existe basado ms en las posibilidades de comunicacin oral que en sus elementos
visuales.
Jorge Satorre
Mexico City, Mexico, 1979.
Lives and works in Amsterdam, The Netherlands.
After several years of working as an illustrator, Jorge Satorre recovers and
perverts the methods of this practice, where the unspoken communication established
between creator, history, image and reader/viewer serves as a starting point to
relate and work with the problem of contexts.
He often utilizes bare-bones modes of presentation where the combination of
drawing and text functions as the main support for story-telling, the discursive
thus taking primacy over the visual elements of the work.
Jorge Satorre & Erick Beltrn (dibujos | drawings: Jorge Avia)
Modelling Standard
2010
57 dibujos en impresin xerogrfica sobre papel bond | 57 xerographic print drawings on bond paper
50 x 35.43 inches each
Edition 1/25, 1
(Inv# B & S1)
*The individual prints that make up this installation were made from original drawings
by Jorge Avia. The original drawings are sold together as a single work entitled
Modelling Standard.
Exhibited:
FormContent, Gasworks, London, United Kingdom. 2010.
Casa Vecina, Mexico City, Mexico. 2010
LABOR, Mexico City, Mexico. 2011.
LISTE 16, Basel, Switzerland. 2011.
Modelling Standard
A project by Erick Beltrn & Jorge Satorre
In the late nineteen seventies microhistory was developed in Italy as a new
historiographic methodology. Its structure is anchored in three basic principles:
the reduction of the scale of analysis, the intensive exploitation of original
sources and the adoption of the explanatory exhibition model, commonly associated
to detective novels since it applies deductive methods through clues. Among the
most significant contributions of microhistory to the historiographic field are:
the interest in the subordinate classes which forces the redefinition of the
historical analysis as a whole, imagination as a legitimate research tool, and
narrative as a guiding method.
Modelling Standard is based on our interest in the methodology of microhistorical

studies and could be seen as a personal attempt to achieve a never-ending critique
and transformation of the historical categories. The development of the project
was comprised of a period of research in which the origins of microhistorical
practice were discussed and analysed, such as the epistemological turn carried
out by the French Ecole des annales, founded by Lucien Febvre and Marc Bloch and
developed later by Fernand Braudel and others; the English local history studies
of Leicester University; the appearance of the term microhistory in the 1970s
coined by Carlo Ginzburg, Edoardo Grendi and Giovanni Levi; and more recently,
Latin American reinterpretations of this historical practice will be some of the
contents in our researchs index.
Concepts that are inherent to microhistory are here used as a permanent strategy
to reorganize and reactivate seemingly disconnected elements that make reference
to personal experiences and popular culture. This was made into a visual diagram
depicting a series of questions based on personal subjectivity, but aiming to
propose definitions framed within the general state of the real.
This methodology is not approached
platform in which a large number of
complete scene. Among these devices
indiciary paradigm, the reduction of
as a process of random decisions but as a

historiographic tools are used to explain a
we can highlight the moral imagination, the
study scale, and the anomaly case.
The use of diagrams allows us to reduce specific situations to models, as well

as to visualise the process of solving a dilemma. These diagrams act as our
translating machines to transport the historiographic and sociological realms into
the territory of artistic practice.
The process of creating the diagrams functioned as the script for the production
of the final piece and the exhibition. The idea is to create a series of models
from diverse materials through which we will present evidence of the connections
between diagrammed concepts and potential specific cases.
Since the project tries to think itself as a conscious process coming from
the deductions of the research, it is difficult to foresee the final outcome.
Nevertheless, the cohesive element of the project is the method of writing the
basic script carried out by taking maps and projections -understood here as an
extension of coordinates- as the departure point.
The title of this project plays with the notion of the Standard Model, which is
the current theory of fundamental particles and their interaction. The attraction
and repulsion between these minimum units of matter is what makes possible the
visibility of all the things in the universe.
One feature of the Standard Model important to us is that, even though it may
seem perfect according to mathematical calculation, it proves to be incomplete.
The Standard Model cannot explain why some particles exist as they do e.g. why
particles have a certain mass. Physicists have theorised the existence of the socalled Higgs field, which in theory interacts with other particles to give them
mass. The Higgs field requires a particle, the Higgs boson, which has not been
observed in any experiment.
This model could work as a metaphor for the importance of looking at internal
dynamics in small scales at sociological and historical levels and, therefore,
the consequences they entail in reconsidering the mechanics of a given analysed
system. Likewise, microhistory works by means of the recollection of hints, like
pieces of a puzzle, tirelessly looking for an ungraspable, complex image or system.
Installation view: FormContent, Gasworks, London, United Kingdom. 2010.
Installation view: FormContent, Gasworks, London, United Kingdom. 2010.
Installation view: Casa Vecina, Mexico City. 2010.
Installation view: LISTE 16, Basel, Switzerland. 2011.
Jorge Satorre (1979)
Caballo 1
2010
Lpiz sobre papel | Graphite on paper
29.7 x 21 cm (11.69 x 8.27 inches)
39.6 x 30.8 cm con marco (15.59 x 12.13 inches framed)
(Inv# JS 17)

Caballo 1
2010
Seleccin de una serie de dibujos hechos de memoria de sitios en ciudades que he visitado,
en donde la primera actividad o contacto con el lugar y su gente haya sido bailar.
El ttulo del proyecto viene de un trmino que se utilizaba en los maratones de baile en los
aos 30 en Estados Unidos. As es como se le llamaba a todo competidor que lograba superar
las 500 horas continuas sin parar de bailar.
Selection of a sequence of drawings made up from the memory of spaces in cities he visited,
in which the first activity or contact with the place and its people was dancing.
The title of the project derives from a word which was used in the dancing marathons in
the 1930s in the USA. Thats how they called each competitor who exceeded 500 hours of
continious dancing.
Caballo 2
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 18)

Caballo 2
2010
continious dancing.
Caballo 3
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 19)

Caballo 3
2010
continious dancing.
Caballo 4
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 20)

Caballo 4
2010
continious dancing.
Caballo 5
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 21)

Caballo 5
2010
continious dancing.
Caballo 6
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 22)

Caballo 6
2010
continious dancing.
Caballo 7
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 23)

Caballo 7
2010
continious dancing.
Caballo 8
2010
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS 24)

Caballo 8
2010
continious dancing.
La clase de dibujo | The Drawing Class

2010
2 Dibujos: 15 x 21cm c/u (2 drawings: 5.91 x 8.27 inches each)
29 x 35 cm con marco (11.42 x 13.78 inches framed)
(Inv# JS16)
Exhibicin:
The Circulating actions of Things. Bard College, Annandale-on-Hudson, curada por Manuela
Moscoso. Nueva York, Estados Unidos. 2011

2010

2010
The Visit
2010
320 drawings traded to slides
(Variable dimensions)
(Inv# JS 15)
Exhibited:
La verdad divina, LABOR, 2010.

The Visit
2010
The Visit is a selection of almost 400 sketches made by 100 tattoo artists both professional
and amateur, and presented as a diaporama. The sketches were based on the oral description
of the 4 tattoos artist Lawrence Weiner has on his body.
These images are a conclusion and an illustration of an epistolary exchange held with
Weiner, the result of an invitation from the Swiss tattoo magazine, Sang bleu, to produce
an artistic work for its publishing. The basis for this conversation was the way Weiner
uses tattoos in his work to deal with the conflict implicit in his conviction that context
does not exist. This conviction is confronted with the important role the imagination of
the spectator plays in the construction of his work.
The Erratic. Measuring Compensation

2009-2010
3 drawings, diagram, piece of stone and plaster stone
Diagram: 57 x 44 cm (22.44 x 17.32 inches) Framed 64.5 x 51.5 cm (25.39 x 20.28 inches)
Stone: 4 x 17 x 11 cm (1.57 x 6.69 x 4.33 inches)
Plaster stone: 70 x 120 x 35 cm (27.56 x 47.24 x 13.78 inches)
3 drawings:
1. 29.7 x 21 cm (11.69 x 8.27 inches)
2. 29.7 x 21 cm (11.69 x 8.27 inches)
3. 29.7 x 42 cm (11.69 x 16.54 inches)
(Inv# JS 12)
Exhibited:

The Erratic. Measuring Compensation.
2009-2010
In September 2008 the port of Rotterdam (Maasvlakte), the largest in Europe, underwent a
dramatic transformation based on a plan of extending its land 20% of its original size. It
is estimated that when this project is finished, a total of 5 million tons of stone would
have been bought and transported from Scandinavia for the construction of dikes and dams.
Coincidentally, the few stones that can be found in Holland were almost entirely brought
from this region thousands of years ago due to glacial movement. These stones are known as
erratic stones.
A search for an erratic stone was organized at the same time as construction began on
Maasvlakte, both as a symbolic gesture and a critique of the effectiveness and significance
of ecological compensation programs. Finally, an approximately three and half-ton stone was
found in a farm near the town of Erica, close to Emmen, Holland. A geologist analyzed it to
determine its place of origin. Once this information was confirmed, the stone was moved and
then abandoned in a forest in southern Sweden in January 8th 2010.
The event was registered following a method used in archeology when a site with a prehistoric
megalith, particularly those known as hunebedden, is discovered. The method consists in
locating the holes left by the stones, filling them up with plaster or concrete, and then
leaving them buried in the ground as a mark.
La verdad divina (Piaxtla indiciaria)

2009-2010
Lpiz sobre papel y guin fotocopiado | Graphite on paper and photocopied screenplay
352 dibujos negros 18 x 24 cm (7.09 x 9.45 inches) c/u enmarcados
52 dibujos de viaje 21 x 29.5 cm (8.27 x 11.61 inches) c/u
Guin fotocopiado tamao carta
(Inv# JS 28)
Exhibited:

La verdad divina (Piaxtla Indiciaria)
2009-2010
LA VERDAD DIVINA (PIAXTLA INDICIARIA) es un proyecto de largo recorrido planteado como una
cadena de interpretaciones a la manera de un laboratorio de experimentacin hermenutica.
Basado en la idea de trasladar la interpretacin de una realidad social concreta a un nivel
de subjetividad extremo a partir de la intrusin de distintos referentes del artista. Los
dibujos velados presentes en la exposicin son el eslabn que concluye este proceso.
El mtodo llevado a cabo consisti en reunir a un grupo de ilustradores dirigidos por Jorge
Avia, a interpretar por medio de dibujos, a partir de la narracin oral de Satorre, un texto
de manera fragmentada durante aproximadamente dos meses y medio.
El texto en cuestin es un guin cinematogrfico titulado El cuarto camino escrito por el
novelista lmer Mendoza basado en la trama de la pelcula de corte absurdista Two-Lane
Blacktop (Monte Hellman, 1971) y una serie de notas y dibujos, realizados previamente por
Satorre. La documentacin en la que se bas Mendoza, contenida en la mesa que acompaa los
dibujos velados, constituye el total de las fases previas:
-Una estancia de un mes en el pueblo de Piaxtla, Puebla, el cual se encuentra en peligro de
desaparicin por la constante emigracin de su poblacin a Estados Unidos.
-Realizacin de una serie de dibujos basados en mitos y leyendas contadas por gente del
pueblo.
-La participacin de habitantes de Piaxtla analizando la pelcula Two Lane Blacktop (Monte
Hellman 1971)
-Un viaje en coche desde el pueblo hasta Nueva York incorporando en la ruta el paralelismo
existente entre la carrera de coches que protagoniza la pelcula y el trayecto de Maurilia
Arriaga, primer piaxteca en emigrar en 1952.
Conforme se iban realizando los dibujos a partir de los fragmentos de esa pelcula en
potencia escrita por Mendoza, en el momento en que la imagen resultante satisfaca al
grupo, procedan a oscurecerlos casi totalmente. Entendiendo que las intenciones radicaban
en el proceso de interpretacin y no en el resultado de ella o valor funcional/didctico
comnmente asociado a un storyboard. De esta manera, la razn del trabajo radica en el
esfuerzo mental por posicionarse de forma grupal en la construccin de esa pelcula no
realizada. La serie resultante de dibujos en tinieblas, como si se tratara de una pelcula
velada, funciona idealmente slo como un indicio del largo proceso. Permitiendo as que la
cadena interpretativa que dio pie a este trabajo se torne infinita, siguiendo su curso en
cada uno de los posibles lectores de El cuarto camino.

La verdad divina (Piaxtla Indiciaria)
2009-2010
THE DIVINE TRUTH (INDICIARY PIAXTLA) is a long journey-project presented as a chain
of interpretations in the spirit of a hermeneutic laboratory. It is based on the idea
of transposing the interpretation of a specific social reality to an extreme level of
subjectivization based on the intrusion of different referents from the artist. The veiled
drawings included in the exhibition are the link that conclude this process.
The divine truth (evidentiary Piaxtla) was carried out by a group of illustrators gathered
by Jorge Avia. Its purpose was to interpret a text, in fragments, by means of drawings
based on Satorres oral narration. The process lasted two and a half months.
The text under discussion is a film script entitled El cuarto camino, written by novelist
lmer Mendoza. The absurdist film Two-Lane Blacktop (Monte Hellman, 1971) in combination
with a series of drawings and notes made by Satorre were altogether used as a reference to
develop the above mentioned film script. The documents on which Mendoza based his film,
laying on the table by the veiled drawings, make up for the totality of previous phases.
These phases included:
-A month-long stay in the town of Piaxtla, Puebla, which finds itself in danger of
disappearing due to the constant emigration of its population to the United States.
-A series of drawings based on the myths and legends told by the people of Piaxtla.
-The participation of the people of Piaxtla in the analysis of the film Two Lane Blacktop
(Monte Hellman, 1971).
-A journey by car from Piaxtla to New York establishing a parallel between the car race in
the film and the journey of Maurilia Arriaga, the first Piaxteca to emigrate in 1952.
Once the drawings based on the fragments of that potential film written by Mendoza were
finished and when the resulting images were approved by all they were darkened almost
completely. The focus was the process of interpretation, not its result or the functional/
educational value commonly associated with storyboards. Thus, the idea behind the communal
work was the mental effort to take up a stance in the collective construction of that notyet-made film. The resulting darkened drawings, considered as a veiled film, ideally work
only as a trace or an indication of the long process. This allowed the interpretative chain
that gave birth to this work to become infinite as it followed its course through each of
the possible readers of El cuarto camino.
La part maudite illustre (La parte maldita illustrada)

2010
Mixed media: 33 bases de offset y 90 pinturas de gouache sobre madera |
Mixed media: 33 offset plates and 90 gouache on wood paintings | Techniques
mixtes: 33 plaques offset et 90 gouaches sur bois
Gouaches: 21 x 14.8 cm c/u (Gouaches: 8.27 x 5.83 inches each)
(Inv# JS 13)
Exhibited:
The Indirect Gaze, Le Grand Caf, Saint-Nazaire, France. 26 June 21 August 2010
FIAC 2011. Pars, Francia.

La part maudite illustre
2010
(La parte maldita illustrada)
Saint Nazaire es conocida por contar con el astillero que hasta la fecha construye
los barcos ms grandes del mundo. Al final de la segunda guerra mundial, fue
bombardeada y destruida en un 90% y en la dcada de 1950 la ciudad fue reconstruida
casi totalmente.
En 1949 George Bataille public un ensayo filosfico de teora econmica titulado
La parte maldita, el cual fue poco apreciado en su tiempo por el enfoque mstico de
sus planteamientos. En l, Bataille reivindica la importancia del gasto improductivo
en un sistema econmico normalmente ligado simplemente a un proceso de produccin
y consumo. Propone que toda sociedad produce un excedente de bienes que tiene que
ser dilapidado, entendiendo esto como un factor inherente en el proceso evolutivo
de la misma. Durante el desarrollo del libro, el autor analiza diversos ejemplos
como son: los sacrificios humanos en el imperio azteca, el derroche y destruccin
en las guerras, la ostentacin del lujo, el potlacht, la condena de la limosna en
el calvinismo, etc.
El libro antes citado sirvi como base para establecer una serie de conexiones
con la historia de la ciudad. Principalmente con el hecho de que St Nazaire haya
sido fundada a partir de la necesidad de mano de obra para la construccin de
un artefacto tan particular como lo es un barco. Y sobretodo, con el increble
despliegue de energa, organizacin de trabajo y materia prima que se requiere
para construir tal producto, confrontndolo con la paradoja de ser una de las pocas
cosas creadas por el hombre que difcilmente pueden ser conservadas por un largo
perodo de tiempo. A excepcin de contados casos, ya sea por incendio, hundimiento
o desguace, un barco est condenado a desaparecer relativamente pronto.
El trabajo se concret proponiendo una reedicin ilustrada de La parte Maldita.
Las imgenes provienen de una especie de inventario personal de todos lo barcos
construidos en St Nazaire de los que logr encontrar pruebas de su desaparicin.
Las pinturas fueron hechas por Jorge Avia, un ilustrador experto en reas tan
diversas como la novela policiaca y el dibujo cientfico, partiendo de datos y
descripciones encontrados en documentos de la ciudad. La esttica y formato se
inspir en las postales que se acostumbraban imprimir a principios del siglo pasado
cuando un barco era finalizado y parta del puerto.
La produccin del libro se detuvo intencionalmente justo antes ser impreso,
conservando simplemente las placas de offset con el layout de la publicacin. Siendo
as un libro en potencia, manteniendo finalmente la asociacin entre Bataille, St
Nazaire y Satorre, como algo casi personal del artista.
* La part maudite illustre fue realizado a partir de una invitacin del centro de
arte contemporneo Le grand caf en la ciudad de St. Nazaire en Francia a proponer
y desarrollar un trabajo en relacin a la historia del sitio.

La part maudite illustre
2010
(La parte maldita illustrada)
Saint-Nazaire is known for having a shipyard that continues to produce the largest
ships in the world. By the end of the Second World War, 90% of the city was bombed
and destroyed and in the 1950s, the city was reconstructed almost in its entirety.
In 1949, Georges Bataille published a philosophical essay on economic theory
entitled The Accursed Share - fairly unappreciated at the time due to its mystical
undertones. In the book, Bataille argues for the importance of expenditure in an
economic system habitually linked to a simple process of production and consumption.
He proposes that all of society produce an excess of goods to be destroyed,
understanding this as an inherent factor in the evolutionary process of society
itself. Over the course of the book, the author analyzes various examples; human
sacrifice in the Aztec empire, waste and destruction in wars, luxury, potlatch,
the condemnation of begging in Calvinism, and so on.
Batailles book served as the basis for establishing a series of connections with
the history of the city. In particular, the fact that Saint-Nazaire was founded
out of the need to support the construction of an artifact as particular as the
boat. And above all, with the incredible burst of energy, labor and raw materials
required to build such a commodity, which ironically is one of the few things
created by man that can hardly be preserved for a long period of time. Except in
rare cases, either by fire, sinking or scrapping, a ship is doomed to disappear
relatively quickly.
The work was conceptualized by proposing an illustrated remake of The Accursed
Share. The images come from a kind of personal inventory of all the boats built
in Saint-Nazaire where the artist could find evidence of their disappearance.
The paintings were made by Jorge Avia, an artist who produces illustrations for
everything from detective stories to scientific drawings based on descriptions
found in documents found in the city. The postcards - printed in the early twentieth
century when a ship was finished and left the port - inspired the aesthetic and
format of the work.
The production of the publication was detained just before printing, conserving
only the offset plates with the layout of the publication. Thus the book is a
potential work, which associates Bataille, Saint-Nazaire and the subjective vision
of Jorge Satorre.
* La Part maudite illustre was the result of a residency from the contemporary art
center Le Grand Caf in Saint-Nazaire (France) where Jorge Satorre has to produce
a site-specific work.
La intencin general (The General Intention)

2009
Hoja de apoyo enmarcada y dibujos ocultos | Framed support sheet and hidden drawings
29.7 x 21 cm (11.69 x 8.27 inches)
(Inv# JS Carpeta 9)

2009
Durante el mes de Septiembre del 2006 realic un viaje a Los Angeles, Ca. en bsqueda de
detalles, rastros y secuelas en torno al mtico performance Shoot realizado en 1971 por
Chris Burden. La mezcla de escaso registro documental en sus acciones, la seleccin de
testigos, el paso del tiempo y los rumores suscitados provoc un tipo de trabajo que hasta
la fecha se difunde primordialmente de modo legendario.
A partir de la experiencia en Los Angeles, produje el trabajo titulado National Balloon cuya
documentacin consta de dibujos y fotografas.
Desde hace algunos aos, siempre que tengo que realizar un viaje largo, acostumbro pedirle
a un amigo cercano o a una persona con la que me siento muy identificado que decida cul o
cules sern los libros que leer en el camino. En esa ocasin, la artista Dora Garca fue
quien determin mi lectura durante mi permanencia en Los Angeles. Me pidi que el cuento La
figura de la alfombra de Henry James fuera el nico texto que leyera durante esos das.
El relato cuenta la historia de un par de jvenes crticos literarios al verse envueltos en
una obsesiva bsqueda por descubrir un mensaje oculto en la obra de su escritor preferido.
Todo comienza cuando uno de ellos se entrevista con el autor y ste le revela que hay algo
implcito en la totalidad de sus libros, un secreto en donde se condensa la esencia de sus
intenciones como escritor.
Despus de algunos aos, uno de los muchachos logra descifrar el enigma pero muere antes de
poder confesrselo a su colega, dejando como nica depositaria a su esposa. Esta se niega
rotundamente a revelarlo hasta que finalmente ella tambin fallece.
Durante y despus de mi estancia en Los Angeles realic algunos dibujos basados tanto en el
relato de James como en la obra de Dora Garca, los cuales no inclu como parte de National
Balloon. Estos dibujos descartados nunca han sido ni sern mostrados.
Lo nico que finalmente he decidido sacar del sobre donde estn conservados es la hoja en
blanco que protege las ilustraciones, misma que utilic en su momento para apoyar mi mano
al dibujar la serie.

2009
During September of 2006 I traveled to Los Angeles, CA. in search of details, traces and
effects related to the mythical performance of Shootcarried out in 1971 by Chris Burden.
The mix of scarce documentation of his actions, the selection of witnesses, the passing
of time, and the rumors aroused, provoked a type of work that to this day is spread in a
legendary way.
After this experience in Los Angeles, I produced the work entitled National Balloon, whose
documentation consists of drawings and pictures.
Since a few years ago, whenever I have to take a long trip, I usually ask a close friend or
someone with whom I strongly identify to dedicate which book or books I shall read along the
way. On this occasion, the artist Dora Garca was the one who determined my reading during
my stay in Los Angeles. She asked that the short story The Figure in the Carpet by Henry
James be the only text that I read during these days.
This tells the story of a couple of young literary critics who find themselves wrapped up
in an obsessive search to discover the hidden message in the work of their favorite writer.
All of this begins when one of them interviews the author who reveals that there is something
implicit in the totality of his books, a secret in which the essence of his intentions as
a writer are condensed.
After a few years, one of them succeeds in deciphering the enigma, but he dies before he
can confess it to his colleague, leaving his wife as the only holder of the secret. She
emphatically refuses to reveal it until she too finally passes away.
During and after my stay in Los Angeles I made several drawings based on James`s story and
on Dora Garca`s work, which I did not include in National Balloon. These drawings which
were ruled out have never been and will never be shown.
The only thing that I did finally decide to take out of the envelope in which they are
conserved is the white sheet that protects the illustrations, the same one that I used at
that moment to rest my hand while drawing the series.

2009

2009
Mi dolmen (My Dolmen)

2007-2008
Intervencin temporal en el Dolmen de Funtanaccia en la isla de Crcega. De esta accin se
conserva como documentacin un texto y unos dibujos realizados de memoria meses ms tarde.
| Temporary intervention at the Dolmen of Funtanaccia on the island of Corsica. The action
is documented in an essay and in drawings made from memory some months later.
(Inv# JS Carpeta 4)

Mi dolmen (My Dolmen)
2007-2008
Intervencin temporal en el Dolmen de Funtanaccia en la isla de Crcega. El trabajo consisti
en la construccin de cinco piedras de papel realizadas con extremo detalle imitando la
textura y las formas de las rocas que conforman el Dolmen de Funtanaccia. Una maana, la
ltima de mi estancia en la isla, coloqu las cinco piedras de papel encima y alrededor
del megalito, cambiando la posicin de ellas cada determinado tiempo, simplemente para
observarlas. Yo fui el nico que presenci la accin. No hubo documentacin ese da.
Tres meses despus, estando en Mxico, decid esforzarme en recordar cmo se vea ese
Dolmen rodeado por mis cinco piedras, con lo cual realic un detallado dibujo. Los otros
dibujos, acompaado de texto, es todo lo que logr recordar durante un da en relacin
con mi estancia en Crcega. Las pequeas imgenes dentro de los crculos representan
vivencias, los valos son sueos tenidos en la isla y los rectngulos, referencias
artsticas y literarias.
Ante mi decisin de no entrometerme en la historia de la isla, intent intervenir
nicamente en la percepcin que tena con respecto al sitio. Y el dibujo que realic no
es el Dolmen de Funtanaccia, es mi Dolmen.
Temporary intervention at the Dolmen of Funtanaccia on the island of Corsica. The work
consisted of building five paper stones produced in minute detail, imitating the texture
and shapes of the rocks configuring the Dolmen of Funtanaccia, which is near the place where
I was staying. One morning, the last one of my sojourn on the island, I placed the five
paper stones on top of and around the megalith, changing their position every so often,
simply to observe them. I was the only one who witnessed the action. No documentation was
made that day.
Three months later, in Mexico, I decided to do my utmost to remember what the Dolmen looked
like surrounded by my five false stones, and then I made a detailed drawing. The other
drawing accompanied by text is all I managed to remember during one day in connection
with my sojourn in Corsica. The small images inside the circles represent experiences,
the ovals are dreams I had on the island and the rectangles are artistic and literary
references.
Before my decision not to meddle in the history of the island, I tried to intervene only
in my perception of the place. And the drawing I made is not the Dolmen of Funtanaccia
but my Dolmen.
The Barrys Van Tour

2007
DVD, monochannel en loop, storyboard, documentacin y texto | DVD, loop monochannel,
storyboard, documentation and text
1333
(Inv# JS Carpeta 1)

The Barrys Van Tour
2007
Proyecto realizado en colaboracin con la comunidad de Sherkin, una pequea isla de
90 habitantes en West Cork, Irlanda. El protagonista de este trabajo es Barry, un
joven pescador muy querido en la isla que muri de manera prematura en el ao 2002.
Desde el da de su muerte, la furgoneta que utilizaba para desplazarse dentro de
Sherkin ha permanecido aparcada en el sitio donde l la dej, con sus utensilios
de pesca dentro, su taza de caf y las llaves puestas.
El vehculo sera llevado al desguace dentro de pocos meses debido a su alto
grado de deterioro. Durante los ltimos aos, la familia de Barry y la comunidad
en general haban impedido que la furgoneta fuera retirada, siendo as el coche
abandonado ms antiguo de Sherkin. Esa repentina prdida de funcionalidad y el
valor especial que los habitantes de la isla le dieron a la furgoneta, llev a
hacer de ella un espontneo monumento local muy importante.
El proyecto consisti en organizar un equipo de trabajo que inclua bsicamente
amigos, familiares y conocidos de Barry. Con ellos organic el desplazamiento de la
furgoneta, primero en gra y luego en barco, hasta el taller mecnico ms cercano.
Durante un mes se repar de manera bsica el motor, se reconstruy el chasis, se le
colocaron frenos nuevos y se le cambiaron las ruedas para poder echarla a andar y
volver sin necesidad de ser remolcada hasta el lugar donde estuvo aparcada durante
los ltimos cinco aos. Pocos das despus la furgoneta fue retirada y llevada al
desguace.
Project made in collaboration with the community of Sherkin, a small island of

ninety inhabitants located in West Cork, Ireland. The main character in this work
is Barry, a young fisherman well loved on the island who died five years ago. Since
the day of his death the van he used to travel around the island remains parked on
the site where he left it, with his fishing utensils, his coffee mug and the keys
still inside.
A few months later, on account of its dilapidated condition, the van was to be taken
to the scrapyard. Over the past few years, Barrys relatives and the community
had prevented its removal from the island, as a result of which it had become
the oldest abandoned vehicle on Sherkin. Its sudden loss of functionality and the
special meaning that the van had acquired in the eyes of the community turned the
vehicle into a spontaneous meaningful local monument.
The project consisted in several stays on the island over a five-month period
in order to gain the confidence of its inhabitants. I eventually set up a work
team that basically included Barrys relatives, friends and acquaintances, with
whom we planned moving the van, with the help of a tow truck and a boat, to the
nearest garage. For about a month basic repairs were carried out on the engine and
the chassis, new brakes were fitted and the tyres were changed so it could start
running and return to its original site on the island without having to be towed.
A few days later the van was taken to the scrapyard.
El encuentro (The Encounter)

2007
17 dibujos en papel y proyeccin a tiempo real | 17 drawings on paper and real time video.
21 x 14.5 cm c/u (8.27 x 5.71 inches each)
(Inv# JS Carpeta 5)

El encuentro (The Encounter)
2007
El Encuentro consiste en la realizacin ininterrumpida durante una noche de una
serie de ilustraciones tomando como punto de partida el razonamiento absurdo de
la novela La cada de Albert Camus. La larga duracin de mi presentacin hizo
prcticamente imposible la apreciacin entera del evento, dando ms importancia al
esfuerzo obstinado y mecnico en s que a un posible resultado final.
Las imgenes son libres interpretaciones provenientes de experiencias y referentes
personales, haciendo nfasis en los conceptos morales recurrentes en la obra
general de Camus como son culpa, justicia, libertad, suicidio, duplicidad humana,
existencia absurda, etc. Cada una de las ilustraciones representa los pliegues
encontrados en toda lectura, donde autor, personajes y lector se cruzan y dialogan
a partir de ese proceso en donde sus respectivas personalidades se desdoblan para
coincidir en una misma experiencia.
Durante el evento, una pequea cmara de vdeo registraba mi mano dibujando al
mismo tiempo que se proyectaba en tiempo real en un muro de la misma sala.
The Encounter consists of the uninterrupted making of a series of illustrations

during one night, taking as a point of departure the absurd reasoning of the novel
The Fall by Albert Camus. The long duration of my presentation made appreciation of
the entire event practically impossible, granting more importance to the obstinate
and mechanical effort in itself than to a possible end result.
The images are free interpretations of references and personal experiences, placing
emphasis on recurrent moral concepts in the work of Camus, such as sin, justice,
freedom, suicide, human duplicity, absurd existence, etc. Each illustration is
a representation of those moments in reading when author, characters and reader
meet and engage in dialogue starting from the process in which their respective
personalities split and coincide in one and the same experience.
During the event, a small video camera recorded my hand drawing, which was
simultaneously projected in real time on a wall in the same hall.
National Balloon
2006
46 dibujos y 13 diapositivas en bucle | 46 drawings and 13 looped slides
21 x 30 cm (8.27 x 11.81 inches)
(Inv# JS Carpeta 3)

National balloon
2006
Durante el mes de Septiembre del 2006 realic un viaje a Los Angeles, Ca. en bsqueda de
detalles, rastros y secuelas en torno al mtico performance Shoot realizado hace 35 aos
por Chris Burden.
El 19 de noviembre de 1971 el artista Chris Burden realiz la performance Shoot en la
galera F-Space en Santa Ana, California. La obra consisti en pedirle a un amigo suyo que
le disparara en el brazo izquierdo con un rifle de calibre 22. De ese evento sobrevive una
grabacin de 8 segundos de duracin y unas pocas fotografas.
Burden en sus primeras performances dej muy en claro lo que l llamaba audiencias primarias
y secundarias, las primeras eran aquellas que presenciaban el acto y las segundas las que
lo haban ledo o escuchado. La mezcla de escaso registro documental en sus acciones, la
seleccin de testigos, el paso del tiempo y los rumores suscitados provoc un tipo de
trabajo que hasta la fecha se difunde primordialmente de modo legendario.
Esa performance y sus secuelas fueron la base para desarrollar el trabajo que ahora presento.
Mi intencin era buscar maneras de saltar simblicamente mi papel de espectador ausente,
pasivo y lejano por medio de la recuperacin de ese evento citado utilizando mi propia
experiencia; convirtindome as de forma figurada ytemporal en espectador presencial.
El proyecto comenz con la simple intencin de mantener una conversacin-entrevista con el
mismo Burden pero fue evolucionando al ir virando poco a poco mi atencin hacia todos los
elementos encontrados en el complicado proceso de convencimiento al artista. Finalmente
lleg un punto donde, sin perder de vista el objetivo inicial, estos elementos recopilados
en cada uno de los encuentros con personas allegadas a esta historia, la informacin
recabada, la visita a lugares relacionados y el mismo viaje que hice con motivo de esta
bsqueda se volvieron los ingredientes del trabajo. Por lo tanto National Balloon no slo se
basa en Shoot sino tambin en sus diversas secuelas, en los rastros que han quedado, en las
interpretaciones creadas y en las respuestas posteriores a estas por parte del artista.
El ttulo del proyecto est basado en el nombre de la empresa dedicada a la venta e impresin
de globos que actualmente se ubica en lo que hace aos era el F-Space. Siempre tuve la
intencin de visitar ese lugar pero no imagin que encontrar un documento o persona que
me pudiera dar una pista de su ubicacin fuera tan difcil. Esta complicacin sumada a
las posteriores negociaciones para lograr acceder a la empresa hizo que la importancia de
conocerla fuera creciendo.
Despus de varios intentos consegu ganarme la confianza de su dueo, Gray, para que me
permitiera recorrer el interior del local y concederme el tiempo necesario para relatarle
lo que haba sucedido ah hace 35 aos. La conversacin que mantuvimos me dej ver que ese
encuentro haba despertado en l una gran curiosidad; imagin que a partir de ese da, la
idea que Gray tendra de ese sitio no sera la misma as como tambin me di cuenta de que
mi lectura de Shoot haba cambiado. Esos das de viaje y todos los elementos encontrados se
haban relacionado indisociablemente con el vdeo, las fotos y textos que conoca acerca
de la performance.
La documentacin que qued de esta experiencia consta de algunas fotografas tomadas durante
mi exploracin en National Balloon as como una seleccin de 44 dibujos de sitios, recuerdos,
interpretaciones, conversaciones y personajes involucrados a lo largo de todo el proyecto.
Estas imgenes no pretenden contar una historia de manera lineal, todas ellas constituyen
la documentacin subjetiva de una experiencia en torno a un evento concreto.

National balloon
2006
During the month of September of 2006 I made a trip to Los Angeles, California, in search
of details, traces and consequences of the legendary performance Shoot carried out by Chris
Burden thirty-five years ago.
On 19 November 1971, the artist Chris Burden carried out the performance Shoot at the
F-Space Gallery in Santa Ana, California. The work consisted in asking a friend to shoot
him in the left arm with a 22-calibre rifle. All that survives to record this event are an
8-second film and a few photographs.
In his early performances, Burden made the distinction between what he called primary and
secondary audiences very clear: the former were those who witnessed the event, the latter
those that heard or read about it. The combination of this lack of documentation on the
performances, his selection of witnesses, the passing of time and the rumours they awakened
brought into being a type of work which has been spread, to date, primarily in the form of
legend.
The performance Shoot and the fallout from it formed the basis for the work I now present. My
intention was to find ways of symbolically overcoming my role as an absent, passive, distant
spectator by using my own experience to recover the performance, becoming, in a figurative
and temporary way, a live spectator.
The project started out with the simple aim of having a conversation or interview with
Burden himself but, as it evolved, my attention strayed more and more towards the elements
that were thrown up during the complicated process of trying to persuade the artist to
agree. I finally reached a point at which, without losing sight of my initial objective,
these elements that I had gathered from all my meetings with people connected to the story,
the information I had compiled, my visits to places associated with the performance and the
very journey I made as part of my quest became the ingredients for my work. For this reason,
National Balloon is based not only on Shoot but also on the fallout from it, the traces that
remain from it, the interpretations that have sprung up and the artists response to them.
The projects title is taken from the name of the company which now occupies the premises
that housed the F-Space gallery all those years ago, and which is engaged in printing and
selling balloons. I had always meant to visit this place, but I never imagined that it would
be so difficult to find a document or person that would give me a clue as to its whereabouts.
This complication, added to all the negotiations necessary to visit the company, made it
more and more important to me to go there.
After several attempts, I finally managed to persuade the company owner, Gray, to let me
look around the premises and to grant me the time I needed to tell him what had happened
there thirty-five years before. During our conversation, I saw that he had become most
curious about it all, and I thought that from that day on the place would never again seem
the same to him. I also realised that my own reading of Shoot had changed. The time I had
spent travelling and all the elements I had found had become inextricably related to the
video, the photos and the texts on the performance that I was familiar with.
The documentation from this experience consists of some photographs I took during my
exploration at National Balloon and a selection of forty-four drawings of sites, memories,
interpretations, conversations and people involved over the course of the project. These
images are not intended to tell a story in a linear way; rather, they form the subjective
documentation behind an experience revolving around a specific event.
17-05-06
2006
290 dibujos insertos en Ergo Sum y edicin de 20 cuadernos de 290 pginas. Impresin
xerogrfica, encuadernacin manual | 290 drawings inserted in Ergo Sum and edition of 20
books of 290 pages. Xerographic printing, manual bookbinding.
Dibujos: 29.5 x 21 cm c/u (Drawings: 11.61 x 8.27 inches each)
(Inv# JS Carpeta 6)

17-05-06
2006
Trabajo realizado para la publicacin Ergo Sum, un proyecto del artista Erick
Beltrn. La estructura inicial del impreso, la cual fue evolucionando conforme
avanzaba el trabajo, respetaba en cierta medida las secciones clsicas de un
peridico. La parte que se me asign fue la de deportes.
Justo en los das en que recib la propuesta de colaboracin se difundi en
la prensa la polmica noticia del supuesto arreglo de partidos en el torneo de
ftbol italiano durante la temporada de 2004-2005 en donde estaban involucrados
importantes equipos como la Juventus, el AC Miln, la Fiorentina o el Lazio. En
esas mismas fechas se preparaban los equipos del Bara y el Arsenal para disputar
la final de la Champions League 06.
Mi trabajo consisti en representar dicho partido por medio de dibujos, respetando
la manera en que los directores tcnicos de los equipos planean y comunican los
movimientos a sus jugadores justo antes de entrar a la cancha. Este registro se
hizo de una manera extremadamente detallada, desde el primer minuto del partido
hasta el ltimo. En los dibujos se puede ver el recorrido total del baln, los
movimientos de los jugadores implicados en la jugada de ese momento, faltas, fuera
de lugar, amonestaciones y goles.
Work made for the publication Ergo Sum, a project by artist Erick Beltrn. To a
certain degree, Its initial structure, which evolved as the work progressed, observed
the classical sections of a newspaper. I was assigned the sports section.
Precisely at the time when I received the offer to collaborate, the polemical
information about the supposed fixed matches in the Italian football competition
during the 2004-2005 season came to light, implicating major teams such as Juventus,
AC Milan, Fiorentina and Lazio. Around the same dates, the Barcelona and Arsenal
teams were preparing to compete in the final of the 2006 Champions League.
My work consisted of representing that match in drawings, respecting the way in
which the team managers plan the different movements and convey them to their
players just before they enter the pitch. This recording was extremely detailed,
from the first minute of the match till the last, and the drawings show the whole
trajectory of the ball, the actions of the players involved in each move, the
fouls, offsides, cautions and goals.
Windows Blowing Out

2005
DVD, monochannel en loop, 2000 posters | DVD, Loop monochannel, 2000 posters.
6 44
(Inv# JS Carpeta 2)
Erick Beltrn (1974)

Windows Blowing Out
2005
Basndome en una accin realizada en Nueva York en 1976 por Gordon Matta Clark titulada
Windows Blow Out surge la idea y el ttulo para este proyecto, el cual consisti en
la recuperacin, de una manera casi teatral, de esta obra referencial a partir de la
construccin de tres ventanas a medida para una vieja casa abandonada cerca del pueblo
de Skibbereen, en West Cork, Irlanda, en donde fui invitado a desarrollar un proyecto. Se
instalaron y se lanzaron piedras contra sus vidrios. Inmediatamente despus las ventanas
fueron retiradas dejando la casa en su estado original.
Al recrear el acto original recuper y asimil ese proceder simple de Matta Clark, as como
la intencin de sustituir un modelo de obra de arte de orientacin visual por uno basado en
el mundo del trabajo donde los procesos adquieren especial importancia y primordialmente,
la manera en que esta obra en especfico, en la que baso mi propuesta, ha sobrevivido. Me
refiero al carcter legendario adquirido a partir de la mezcla de diversos factores como
es la espectacularidad del evento, la ausencia de testigos y la escasa documentacin e
informacin que se conserva acerca del evento.
The idea for this project is based on an action performed by Gordon Matta Clark in
1976 entitled Windows Blow Out, which consisted in recovering, almost theatrically,
this referential work through the construction of three windows, made to measure, to be
installed in an old abandoned house near the town of Skibbereen in West Cork, Ireland,
where I was invited to carry out a site-specific project. The windows were installed and
then stones were thrown against their panes, after which the windows were removed leaving
the house in its original condition.
By recreating the original act I recovered and assimilated Matta Clarks simple procedure
and his endeavour to replace the model of a visually oriented artwork with a model based
on the world of labour where processes acquire a fundamental importance. The way this
piece on which I base my proposal has survived is particularly to the point. Im referring
specifically to the legendary aspect the work has acquired from the combination of
features such as the spectacular nature of the action, the absence of witnesses and the
scarce documentation and information preserved of the event.
Trabajo importante (Important Work)

2004
24 dibujos a tinta sobre papel | 24 drawings ink on paper
21 x 29.7 cm c/u (8.27 x 11.69 inches each)
(Inv# JS Carpeta 7)

Trabajo importante (Important Work)
2004
Durante la ltima dcada el barrio de Poblenou en Barcelona se ha visto afectado por un
salvaje plan urbanstico en donde cientos de fbricas y edificios han sido demolidos
para ser sustituidos por lujosos complejos habitacionales y comerciales.
Entre el ao 2003 y 2005 mi estudio estaba ubicado en una de las zonas ms perjudicadas
del barrio. Mientras colectivos de compaeros artistas se organizaban para manifestarse
en conjunto con las comunidades de vecinos, yo decid realizar una serie de acciones
personales. Una de ellas fue Trabajo Importante que consisti en recuperar de una casa
demolida cercana una de sus vigas de madera de 4 metros y medio de largo para desplazarla a mi estudio y durante aproximadamente un mes dedicarme a fragmentarla de manera
lenta. El proceso lo registr con una serie de dibujos.
During the last decade the district of Poblenou in Barcelona has been affected by a wild
urban plan where hundreds of factories and buildings have been demolished to be replaced
by luxurious residential and commercial complexes.
Between the year 2003 and 2005 my studio was located in one of the more affected zones
of the district. While collective of artists organized themselves to pronounce altogether with neighbor communities, I decided to carry out a series of personal actions.
One of them was Important Work that consisted in recovering from a demolished house near
of my studio one of it wood beams and, during approximately a month, I fragmented it in
a slow way. I registered the process with a series of drawings.

Los negros II (Ladrillos) | The Blacks II (Bricks)
2012
Marcador y lpiz sobre papel, ladrillo y cemento | Marker and pencil on
papel, brick and cement
1/1 fragmentos de ladrillo | 1/1 brick fragments
4 obras enmarcadas (dibujos) | 4 framed works (drawings)
1: obra enmarcada integrada por 4 dibujos

9 x 14 cm (3.54 x 5.51 inches) c/u

25.5 x 35.5 x 13.5 cm (10.04 x 13.98 x 5.31 inches framed)
2: Dibujo a color 28 x 35.5 x 13.5 (11.02 x 13.98 x 5.31 inches)

35 x 42.5 x 3.5 cm con marco (13.78 x 16.75 x 1.38 inches framed)
3: Dibujo a color 28 x 35.5 x 13.5 cm (11.02 x 13.98 x 5.31 inches)

35 x 42.5 x 3.5 cm con marco (13.78 x 16.73 x 1.38 inches framed)

Jorge Satorre
Mxico D.F., 1979
Prximas exhibiciones y residencias

Ir para volver. 12a Bienal de Cuenca. Cuenca, Ecuador (cur. por Jacopo
Crivelli Visconti)
Una mquina desea instrucciones como un jardn desea disciplina. Frac
Lorraine. Metz, France/ MARCO. Vigo. Espaa
Educacin - Programas de artista en residencia

-
Casa Vecina. Ciudad de Mxico. 2011

Gasworks. Londres. Reino Unido. 2010
Le Pavillon. Palais de Tokyo. Pars, Francia. 2007-08
ARP. Irish Museum of Modern Art. Dublin, Irlanda. 2007
HANGAR. Barcelona. Espaa. 2003-05
Universidad Autnoma Metropolitana-Azc. Ciudad de Mxico. Licenciado en
Diseo de la Comunicacin grfica. 1997-2001
Exhibiciones individuales
2014
2013
2012
2011
2010
2009
2008
2007
2006
El retroceso. Galera LABOR. Mxico D.F., Mxico

Halfhouse. Barcelona, Espaa
Zona Maco Sur. Mxico DF. (comisariado por Patrick Charpenel)
Art Basel Miami. Art positions. Miami, Estados Unidos
La Part Maudite Illustre. FIAC. Pars, Francia
Modelling Standard. Casa Vecina (con Erick Beltrn). Mxico D.F.
La Verdad Divina. Galera LABOR. Mxico D.F.
Modelling Standard. FormContent (con Erick Beltrn). Londres,
Inglaterra
The indirect gaze. Le Grand Caf. St. Nazaire, Francia
Centro Cultural Montehermoso Kulturunea (Arte e investigacin 09).
Vitoria, Espaa
ARCO. Madrid, Espaa
The Happy Failure. Galerie Xippas. Pars, Francia
The Barrys Van Tour. West Cork Arts Centre. Skibbereen, Irlanda
The Happy Failure. The process room. Irish Museum of Modern art.
Dubln, Irlanda
Ejercicios. La Casa Encendida. Madrid, Espaa

Exhibiciones colectivas
2013
Sin Motivo aparente. CA2M. Mstoles, Madrid. Espaa (comisariado por

Javier Hontoria)
2012
1 Bienal de Montevideo. Uruguay (comisariado por Alfons Hug)

Prairies. Les Ateliers de Rennes. Rennes, Francia (comisariada por
Anne Bonnin)
L'Homme de Vitruve. Le Crdac. Ivry. Francia (comisariada por Claire
Le Restif)
L'archologie, un mythe contemporain. La Tolerie. Clermont-Ferrand.
Francia (comisariada por Alexandra Fau)
This and there. Fondation d'enterprise Ricard. Paris (comisariada por
Claude Closky)
Resistiendo el presente. Muse d'Art moderne de la Ville de Paris/ARC.
Pars (comisariado por Angeline Scherf y ngeles Alonso Espinosa)
Pobre artista rico. Casa del Lago. Mxico DF. (comisariado por Willy
Kautz)
Un ojo, dos ojos, tres ojos. Casa Vecina. Mxico DF. (comisariado por
Uqbar)
Anomalia. University Art Gallery UCSD. San DIego, Ca. (comisariado por
Luca San Roman)
2011
Modelling Standard. Galera Joan Prats. Barcelona. (exposicin

colectiva comisariado por Jorge Satorre y Erick Beltrn)
Inserting new considerations into the historical narrative, the
institution and the audiences. Plevnik Kronkowska Gallery.
Celje, Eslovenia. (comisariado por Juan de Nieves)
Resistiendo el presente. Museo Amparo, Puebla. Mxico. (comisariado
por Angeline Scherf y ngeles Alonso Espinosa)
Robert Smithson in Emmen - Broken Circle/Spiral Hill Revisited The
Ultraperiferic. CBK, Emmen. Holanda (comisariado por Theo
Tegelaers)
La cuestin del paradigma. La Panera. Lleida. Espaa (comisariado por
Manuel Segade)
Seres inanimados. La Casa Encendida. Madrid (comisariado por Brbara
Rodriguez)
5x5 Premio internacional de arte contemporneo Diputacin de
Castelln. EACC. Castelln. Espaa (seleccionado por Dora Garca)
Fat chance to dream. Galera Maisterra Valbuena. Madrid
(comisariado por Tania Pardo)
The circulating actions of things. Bard College. Annandale-onHudson. New York (comisariado por Manuela Moscoso)
Songs of the Swamp. Kunsthalle Exnergasse. Viena. Austria.
(comisariado por Hilary Koob-Sassen)
2010
Antes que todoCA2M. Mstoles, Madrid. Spain (comisariado por Manuela

Moscoso y Aimar Arriola)
Portscapes. Museum Boijmans van Beuningen. Rotterdam. Holanda.
(organizado por SKOR y comisariado por Latitudes y Theo Tegelaers)
The moles horizon. Bozar. Bruselas, Blgica (comisariado por Ruth
Estevez)
Programa Bancomer-MACG-Arte Actual. Museo de Arte Carrillo Gil. Mxico
DF (comisariado por Ruth Estevez e Itzel Vargas)
2009
Instantan (75) : Plus gnral en particulier, FRAC Pays de Loire,

Carquefou, Francia
Labor, labor. Galera Labor. Mxico DF
Juntos acordaron adelantar el oscurecer. Fundacin Sa Nostra. Palma de
Mallorca (comisariado por Patricia Esquivias y Manuela Moscoso)
El Progreso habitado. Museo de Arte Moderno. Mxico DF (comisariado
por Victor Palacios)
2008
Re-Construction. 3th Young Artists Biennial. Bucharest. Rumania

(comisariado por Ami Barak)
Down by law. Galerie Crvecoeur. Pars (comisariado por Alix Dionot
Morani)
Hacia/Desde Mxico DF. Instituto Cervantes. Estocolmo, Suecia / Pars,
France (comisariado por Marti Manen)
Palimpseste, un bon pre-texte. Galerie Xippas. Pars (comisariado por
Franois Quintin)
Aves en la luna, Poticas de la diferencia y otros lugares
imaginarios. Casa del Lago. Mxico DF (comisariado por Itzel Vargas)
((( ))) Transpalette. Bourges, Francia (comisariado por Fabienne
Fulcheri)
25 Aniversario. Galera OMR. Mexico city
Pavillon 7. Palais de Tokyo. Pars (comisariado por Judicael Lavrador)
Old News 4. CGAC, Santiago de Compostela; Midway Contemporary Art,
Minneapolis; Museo de Arte Carrillo Gil. Mxico DF (comisariado por
Jacob Fabricius)
2007
Muestra Injuve. Crculo de Bellas Artes. Madrid (comisariado por

Armando Montesinos)
Por favor, gracias, de nada. Reenactments. Casa del Lago. Mxico DF
(comisariado por Victor Palacios)
La noche en blanco (performance). Espacio Cultural Conde Duque. Madrid
(invitado por Manuela Moscoso)
Pleins Phares. Cit de lautomobile, Muse National. Collection
Schlumpf. Mulhouse, Francia (comisariado por Fabienne Fulcheri)
Symposium Banquet (performance). Project Arts Centre. Dublin, Irlanda
(comisariado por Tessa Giblin)
2006
Barcelona Produccin. La Capella. Barcelona (comisariado por Valent

Roma y Amanda Cuesta)
Paperback. CGAC. Santiago de Compostela; MARCO. Vigo; Fundacin Luis
Seoane. A Corua. Espaa (comisariado por Amanda Cuesta)
XLIII Certamen Internacional darts plstiques. Museo de Pollena.
Pollena, Mallorca, Espaa
2005
Algunos libros de artista. Galera Projecte SD. Barcelona (comisariado

por Silvia Dauder)
Living Landscape. West Cork Arts Centre. Skibbereen, Irlanda
(comisariado por Therry Rudin)

2004
IV bienal de Vic. Barcelona

Institutional Flirts. FLACC. Genk, Blgica (comisariado por Steven Op
de Beck)
Trabajos en publicaciones
2011
2009
2008
2007
2006
2004
"El hallazgo del miembro fantasma". Historieta en colaboracin con

Erick Beltrn, Gonzalo Martr y Jorge Avia. Producido por Casa
Vecina.
Nmero Cero 4. 2da Trienal Poli/grfica de San Juan: Amrica Latina y
el Caribe. Puerto Rico (comisariado por Magali Arriola)
Piaxtla indiciaria. Revista Roulotte. Espaa
The Visit. Specific project for Sang-bleu magazine. (comisariado por
Emanuelle Antille)
Old news 4. A Jacob Fabricius project (IInvitado por Amanda Cuesta)
National Balloon. La Capella, Barcelona
17-5-2006. Specific work for Ergo sum, un proyecto de Erick Beltrn
Trabajo Importante. HANGAR. Barcelona
Premios
Marcelino Botn. Espaa. 2010-11
Cajasol. Espaa. 2009-10
Arte e investigacin. Centro Cultural Montehermoso Kulturunea.
Vitoria, Espaa. 2009-10
Programa Bancomer-MACG-Arte Actual, Mxico DF. 2009
Primer premio. Premio Injuve. Espaa. 2007
Beca de formacin en el extranjero. Ministerio de Cultura de Espaa.
2007-08
Fondos para creadores en residencia. Departamento de Cultura de la
Generalitat de Catalua. Espaa. 2007.
Barcelona Produccin. La Capella. Barcelona. 2006
Primer premio. Modalidad proyecto. Premio Miquel Casablancas.
Barcelona. 2006
Primer premio. Cuarta Bienal de VI. Espaa. 2004
Colecciones
Frac des Pays de la Loire. Francia
Fundacin / Coleccin Jumex. Mxico
Museo Universitario de Arte Contemporneo de la UNAM. Mxico
Museo Amparo. Mxico
De Bruin-Heijn Collection. Holanda
Centro de Arte 2 de Mayo. Espaa
Museum of Old and New Art (MONA). Tasmania, Australia
Davis Museum. Estados Unidos

Jorge Satorre
Mexico city, 1979
Forthcoming exhibitions
XII Bienal Internacional de Cuenca. Ecuador (curated by Manuela Moscoso and
Jacopo Crivelli)
Lorraine. Metz, France (cur. by Catalina Lozano) (Solo)
Education - Artists-in-residence programs (selection)

-
Casa Vecina. Mexico city. 2011

Gasworks. London. UK. 2010
Le Pavillon. Palais de Tokyo. Pars, France. 2007-08
ARP. Irish Museum of Modern Art. Dublin. Ireland. 2007
HANGAR. Barcelona. Spain. 2003-05
Universidad Autnoma Metropolitana-Azc. Mexico city. Graphic communication
studies. 1997-2001
Solo exhibitions
2014
2013
2012
2011
2010
2009
2008
2007
2006
El retroceso (Recoil). LABOR Gallery. Mexico City, Mexico.

Halfhouse. Barcelona, Spain
Zona Maco Sur. Mexico DF. ((curated by Patrick Charpenel)
Basel Miami. Art positions. Miami
FIAC. Paris
Modelling Standard. Casa Vecina (with Erick Beltrn). Mexico city
(invited by Willy Katz)
Divine truth. Labor Gallery. Mexico city
Modelling Standard. FormContent (with Erick Beltrn). London (curated
by Catalina Lozano)
The indirect gaze. Le Grand Caf. St, Nazaire. France (curated by
Sophie Legrandjaques)
Centro Cultural Montehermoso Kulturunea (Arte e investigacin 09).
Vitoria, Spain
ARCO. Madrid
The Happy Failure. Galerie Xippas. Paris
The Barrys Van Tour. West Cork Arts Centre. Skibbereen, Ireland
The Happy Failure. The process room. Irish Museum of Modern art.
Dubln, Ireland
Ejercicios. La Casa Encendida. Madrid

Group exhibitions
2013

Lorraine. Metz, France/ MARCO. Vigo. Spain (curated by Catalina
Lozano)
Sin Motivo aparente. CA2M. Mstoles, Madrid. Spain (curated by Javier
Hontoria)
2012
1st Montevideo Biennial. Montevideo, Uruguay (curated by Alfons Hug)

Prairies. Les Ateliers de Rennes. Rennes, France (curated by Anne
Bonnin)
L'Homme de Vitruve. Le Crdac. Ivry. France (curated by Claire Le
Restif)
L'archologie, un mythe contemporain. La Tolerie. Clermont-Ferrand.
France (curated by Alexandra Fau)
This and there. Fondation d'enterprise Ricard. Paris (curated by
Claude Closky)
Pobre artista rico. Casa del Lago. Mexico city. (curated by Willy
Kautz)
Un ojo, dos ojos, tres ojos. Casa Vecina. Mexico city. (curated by
Uqbar)
Resisting the present. Muse d'Art moderne de la Ville de Paris/ARC.
Paris (curated by Angeline Scherf and ngeles Alonso)
Anomalia. University Art Gallery UCSD. San DIego, Ca. (curated by
Luca San Roman)
2011
Modelling Standard. Galera Joan Prats. Barcelona. (group show curated

by Jorge Satorre and Erick Beltrn)
Inserting new considerations into the historical narrative, the
institution and the audiences. Plevnik Kronkowska Gallery. Celje,
Eslovenia. (Curated by Juan de Nieves)
Resisting the present. Museo Amparo, Puebla. Mexico. (curated by
Angeline Scherf and ngeles Alonso Espinosa)
Robert Smithson in Emmen - Broken Circle/Spiral Hill Revisited The
Ultraperiferic. CBK, Emmen. Holland
La cuestin del paradigma. La Panera. Lleida. Spain (curated by Manuel
Segade)
Seres inanimados. La Casa Encendida. Madrid (curated by Brbara
Rodrguez)
5x5 Premio internacional de arte contemporneo Diputacin de
Castelln. EACC. Castelln. Spain (selected by Dora Garca)
Fat chance to dream. Galera Maisterra Valbuena (curated by Tania
Pardo)
The circulating actions of things. Bard College. Annandale-onHudson. New York (curated by Manuela Moscoso)
Songs of the Swamp. Kunsthalle Exnergasse. Viena. Austria. (Curated
by Hilary Koob-Sassen)
2010
Antes que todoCA2M. Mstoles, Madrid. Spain (curated by Manuela

Moscoso and Aimar Arriola)
Portscapes. Museum Boijmans van Beuningen. Rotterdam. Holland.

(organized by SKOR and curated by Latitudes and Theo Tegelaers)
The moles horizon. Bozar. Brussels, Belgium (curated by Ruth Estevez)
Programa Bancomer-MACG-Arte Actual. Museo de Arte Carrillo Gil. Mxico
city (curated by Ruth Estevez and Itzel Vargas)
2009
Instantan (75) : Plus gnral en particulier, FRAC Pays de Loire,

Carquefou, France
Labor, labor. Labor gallery. Mexico city
Juntos acordaron adelantar el oscurecer. Fundacin Sa Nostra. Palma de
Mallorca (curated by Patricia Esquivias and Manuela Moscoso)
El Progreso habitado. Museo de Arte Moderno. Mexico city (Curated by
Victor Palacios)
2008
Re-Construction. 3th Young Artists Biennial. Bucharest. Rumania

(Curated by Ami Barak)
Down by law. Galerie Crvecoeur. Paris (Curated by Alix Dionot Morani)
Hacia/Desde Mxico DF. Cervantes institute. Stockholm, Suecia / Paris,
France (Curated by Marti Manen)
Palimpseste, un bon pre-texte. Galerie Xippas. Paris (Curated by
Franois Quintin)
Aves en la luna, Poticas de la diferencia y otros lugares
imaginarios. Casa del Lago. Mexico city (Curated by Itzel Vargas)
((( ))) Transpalette. Bourges, France (Curated by Fabienne Fulcheri)
25 Aniversario. Galera OMR. Mexico city
Pavillon 7. Palais de Tokyo. Paris (Curated by Judicael Lavrador)
Old News 4. CGAC, Santiago de Compostela; Midway Contemporary Art,
Minneapolis; Museo de Arte Carrillo Gil. Mexico city (Curated by Jacob
Fabricius)
2007
Muestra Injuve. Crculo de Bellas Artes. Madrid (Curated by Armando

Montesinos)
Por favor, gracias, de nada. Reenactments. Casa del Lago. Mexico city
(Curated by Victor Palacios)
La noche en blanco (performance). Espacio Cultural Conde Duque. Madrid
(Invited by Manuela Moscoso)
Pleins Phares. Cit de lautomobile, Muse National. Collection
Schlumpf. Mulhouse, France (Curated by Fabienne Fulcheri)
Symposium Banquet (performance). Project Arts Centre. Dublin, Ireland
(Curated by Tessa Giblin)
2006
Barcelona Produccin. La Capella. Barcelona (Curated by Valent Roma

and Amanda Cuesta)
Paperback. CGAC. Santiago de Compostela; MARCO. Vigo; Fundacin Luis
Seoane. A Corua. Spain (Curated by Amanda Cuesta)
XLIII Certamen Internacional darts plstiques. Museo de Pollena.
Pollena, Mallorca, Spain
2005
Algunos libros de artista. Galera Projecte SD. Barcelona (Curated by

Silvia Dauder)
Living Landscape. West Cork Arts Centre. Skibbereen, Ireland (Curated
by Therry Rudin)

2004
IV bienal de Vic. Barcelona

Institutional Flirts. FLACC. Genk, Belgium (Curated by Steven Op de
Beck)
Grants
2010-11
Marcelino Botn.
2009-10
Cajasol grant for art visual projects. Spain.
Art and research. Centro Cultural Montehermoso Kulturunea. Vitoria, Spain.
2009
Programa Bancomer-MACG-Arte Actual, Mexico City
2007-08
Beca de formacin en el extranjero. Ministerio de Cultura de Espaa.
2007
First prize. Premio Injuve. Spain.
Fondos para creadores en residencia. Departamento de Cultura de la
Generalitat de Catalua. Spain
2006
Barcelona Produccin. La Capella. Barcelona.
First prize. Project modality. Premio Miquel Casablancas. Barcelona.
2004
First prize. Fourth Vic biennale. Spain.
Collections
Frac des Pays de la Loire. France
Fundacin / Coleccin Jumex. Mexico
Museo Universitario de Arte Contemporneo de la UNAM. Mexico
Museo Amparo. Mexico
De Bruin-Heijn Collection. Holland
Centro de Arte 2 de Mayo. Spain
Museum of Old and New Art (MONA). Tasmania, Australia
Davis Museum. United States
Saint-Nazaire
Jorge Satorre
The Indirect Gaze
Curator: Sophie Legrandjacques
After being developed during his tenure as an editorial illustrator, Jorge
Satorres work recuperates and perverts the methods proper to that field,
wherein the tacit relationships established between creator, story, image and
reader/viewer serve as a point of departure for relating to and intervening
in the places where his work develops.
Jorge Satorres way of working, rooted in an evident enjoyment of narrative,
comes from historical and oneiric inquiry, detective work and poetic rereading. The artist lays claim to the freshness of the experimental, foregrounding the research process and effort that it involves. His usual modes of
presentation (drawings, videos, performances) work by suggestion: tools for
recovering a memory rather than faithful documents that would allow an event
or the history of a place to be retraced. They function as subjective attempts
at interpretation and which afford a kind of work that exists based more in
the possibilities of oral communication than in its visual elements.
His drawings and films are thus considered as hybrid receptacles, emotionally
very highly charged, weighing up the phenomena of migration (of populations,
of objects) and mutation (functional and symbolic) that regulate our world.
In Saint-Nazaire Jorge Satorre will renew with his 2010 residence and exhibit
a particular group of works closely tied to the geographical context and the
relationship between the port and its past.
An astronomical method for detecting planets beyond the solar system called
the indirect gaze provides the title of the exhibition, as well as of one
of the included pieces. Since such planets are so far from Earth, they could
until very recently only be discovered by studying the subtle variations in
luminosity of stars oscillating nearby. Satorre uses this reference to explain the ways he has approached situations in which he has had to interpret
a place totally unknown to him.
The exhibition includes a review of some of the artists most relevant work,
as well as the continuation of a work in progress and two new projects. One
of them, La part maudite illustre functions as the axis of the group of
work presented. Following a period of research in the citys archives, he
gathered information with which he created a personal inventory of the ships
constructed in St Nazaire and that have now disappeared. Based on this documentation, a scientific illustrator painted each of these ships in detail,
describing the moment at and way in which they disappeared. These images
were then used in an illustrated reprint of Georges Batailles book La part
maudite (The accursed share) that was proposed by the artist. This process
was detained just before printing, based on the idea of a book that remains
only as potential. The offset plates, together with the paintings, constitute
the final presentation of the piece.
Jorge Satorre, Mexico City, 1979. He lives in Mexico and Amsterdam. His work
has been presented in individual shows at: Centro Cultural Montehermoso,
Vitoria (2010); galera Xippas, Paris (2008); Process Room / Irish Museum of
Modern Art, Dublin (2007) and La Casa Encendida, Madrid (2006). He is currently completing a residency at Gasworks, London (project with Erick Beltrn
for FormContent in September).
LE GRAND CAF, Centre dart contemporain, Saint-Nazaire (F)
Place des Quatre zhorloges, 44 600 Saint-Nazaire France T + 33 (0)2 44
73 44 00 F + 33 (0)2 44 73 44 01 grand_cafe@mairie-saintnazaire.fr www.
grandcafe-saintnazaire.fr
9 Oct 2010
Jorge Satorre and Erick Beltrn: Modelling Standard
Review by Maggie Grey
A poster press release at the door to Modelling Standard provides the first
clue that FormContents latest exhibition might emphasise the content side of
things. It proclaims the starting points for Jorge Satorre and Erick Beltrns
collaboration as Carlo Ginzburgs concept of the micro-history, and sciences
Standard Model used to explain interactions between sub-atomic particles.
Cerebral stuff, but its not at the expense of the visuals. The at-a-glance
effect of Jorge Avinas comic-like illustrations, which form the physical
content of the exhibition, is eye-catchingly energetic and intricate, and well
matched to the complexity of the shows ideas. On top of a wealth of pictorial
detail, every image harbours words and phrases. Difficult ones: apophenia,
cognitive neuroscience, Naegely-Franceschetti-Jadassohn Syndrome. I decided rather quickly that I should take a little longer over my visit than
planned.
Satorre and Beltrn installed this exhibition in front of an audience, hastily pasting up the paper sheets while constructing and explaining the narratives between them. Their footprints still muddy the occasional image, and
I found myself wishing I could have attended. It might have helped navigate
the resulting, bewildering detective plot of references, presented as a
sort of comic book drawing-board. It features a murder (Sherlock Holmes vs.
Fantmas - a story in which Holmes is the victim), and aspects of detective
investigation: definitions of the perfect crime, notes on the discovery of
the fingerprint and of a physical condition which leaves certain people without one. Fantmas, the perfect villain (so elusive that people do not believe
he exists) is evoked alongside sheets that highlight the fallibility of human
recognition. A host of further scientific and academic theories addressing
the physical, societal and psychological details of our lives are also thrown
into the mix. Fittingly, the main protagonists of the plot are famously great
minds Freud, Morelli and Arthur Conan Doyle all feature.
I cannot profess to have followed much of this investigative narrative.
Perhaps the artists at the opening reached a more concrete conclusion than
I was able to puzzle out. Perhaps it doesnt matter: one illustration claims
that the processes of investigation are as important as results. The show illustrates the idea that history should be taken as a set of clues rather than
a series of facts, and that how we interpret these depends on how closely we
look and from what angle. There are some memorable insights to that effect,
my favourite being a comment on scale illustrated by a man battling a foe
whose atoms fly apart to avoid any blow: A model is a metaphor depending
on the scale you are reading, different particles appear. Form is a choice of
scale. Look closely enough at anything and the best part of it becomes the
space between its atoms.

Jorge Satorre

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Jorge Satorre

Jorge Satorre & Erick Beltrn (dibujos | drawings: Jorge Avia)

Modelling Standard is based on our interest in the methodology of microhistorical

as a process of random decisions but as a

The use of diagrams allows us to reduce specific situations to models, as well

Installation view: FormContent, Gasworks, London, United Kingdom. 2010.

Installation view: FormContent, Gasworks, London, United Kingdom. 2010.

Installation view: Casa Vecina, Mexico City. 2010.

Installation view: LISTE 16, Basel, Switzerland. 2011.

Jorge Satorre (1979)

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La clase de dibujo | The Drawing Class

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La clase de dibujo | The Drawing Class

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La clase de dibujo | The Drawing Class

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The Erratic. Measuring Compensation

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La verdad divina (Piaxtla indiciaria)

Jorge Satorre (1979)

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La part maudite illustre (La parte maldita illustrada)

Jorge Satorre (1979)

(La parte maldita illustrada)

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(La parte maldita illustrada)

Jorge Satorre (1979)

La intencin general (The General Intention)

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La intencin general (The General Intention)

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La intencin general (The General Intention)

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Mi dolmen (My Dolmen)

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The Barrys Van Tour

Jorge Satorre (1979)

Project made in collaboration with the community of Sherkin, a small island of

Jorge Satorre (1979)

El encuentro (The Encounter)

Jorge Satorre (1979)