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Fritzia Irízar - Untitled. Series of drawings of endangered plants.
Artist Biography: Fritzia Irizar Culiacan, Mexico, 1977 Fritzia Irizar questions the value of money and its purchasing power through objects extracted from their "natural habitat" that take on symbolic qualities, thus eliminating their monetary value. "habitat" that take on symbolic qualities, thus eliminating their monetary value, transforming the viewer's perception of them. His work refers directly to small-scale modes of circulation of capital, and to the consumption of the work of art, to the consumption of the work of art, how economic structures determine individuals, and how certain subjectivities are thus subjectivities are thus configured. Several of her projects have incorporated diamonds and salt, similar in appearance and both used as currencies in different historical periods. The notion of the values of such materials is subject to belief and fantasy, a complexity always present in her pieces. always present in her pieces. Fritzia's work recognizes that history and science are almost fictions, built up in small layers of knowledge, and thus subject to the decisions of a few individuals. Yet, they are fictions to which we cling, like acts of faith, of belonging, or a will to certainty. Stripped of their usual context, the currencies that Fritiza Irizar uses in her work assume symbolic qualities that speak of the construction of desire and value. --- Fritzia Irizar She has exhibited in various international institutions such as MUAC, Museo Ex Teresa, Museo Ex Teresa Arte Actual, Sala Siqueiros and Museo Rufino Tamayo all in Mexico City, Orange County Museum of Art in Santa Ana, CA2M (Centro de Arte 2 de Mayo) in Madrid, Headlands Center for the Arts in Madrid, Headlands Center for the Arts in San Francisco, CIFO Fontanals Foundation in Miami, Cisneros Cisneros Foundation in Miami, Giorgio Cini Foundation in Venice, Seattle Art Museum in Seattle, Banco Santander Foundation in Madrid, Beirut Museum of Art (BeMA) in Beirut, and the Rashid Karami International and the Rashid Karami International Fair in Tripoli. He has also participated in different Biennials: the 9th and 10th Mercosur Biennials in Porto Alegre, the 12th FEMSA Biennial in Monterrey, and the 14th FEMSA Monterrey and the 14th Cuenca Biennial. His work can be found in collections such as JUMEX, Mexico; Isabel and Agustín Coppel Collection, Mexico; Isabel and Agustín Coppel Collection, Mexico; Servais Collection, Belgium; Olor Visual Collection, Spain; Braddock Collection, USA; Proyecto Bachué, Colombia; CIFO Collection, USA; Fondazione Benetton, Italy; and CA2M, Spain.
Drawing made with ink from the ashes of burnt dollars, a reflection belonging to the exhibition "Chicxulub, studies in a landscape", on the devastating pressure exerted by the economy on the landscape.
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