Pablo Vargas Lugo
Ode to Joy (excerpt), Requiem (excerpt)2005

Not on view

Artist or Maker: Pablo Vargas Lugo
Mexico, Mexico City, born 1968
Title: Ode to Joy (excerpt), Requiem (excerpt)
Date Made: 2005
Medium: Twenty-four paper cutouts on paper
Dimensions: a-x) 9 5/8 × 13 13/16 in. each; frame: 78 1/16 × 58 3/16 × 1 1/8 in. (198.28 × 147.8 × 2.86 cm)
Credit Line: Purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
Accession Number: M.2006.21a-x
Classification: Collages
Collecting Area: Latin American Art
Curatorial Notes: Pablo Vargas Lugo belongs to a generation of conceptual artists who emerged in Mexico in the 1990s and rebelled against painting and the nationalistic tendencies of Mexican art. In 1994, he began creating his trademark cut-paper drawings. The works, which draw on familiar styles and signs, are complex visual puns that subvert the viewer's referents. Here, twenty-four sheets of music are peppered with rocks derived from Chinese painting and Japanese anime. The contiguous placement of the sheets creates the expectation that they can be read as a music score, an expectation that can never quite be fulfilled.
Ilona Katzew, 2008

Not on view

Artist or Maker: Pablo Vargas Lugo
Mexico, Mexico City, born 1968
Title: Ode to Joy (excerpt), Requiem (excerpt)
Date Made: 2005
Medium: Twenty-four paper cutouts on paper
Dimensions: a-x) 9 5/8 × 13 13/16 in. each; frame: 78 1/16 × 58 3/16 × 1 1/8 in. (198.28 × 147.8 × 2.86 cm)
Credit Line: Purchased with funds provided by the Bernard and Edith Lewin Collection of Mexican Art Deaccession Fund
Accession Number: M.2006.21a-x
Classification: Collages
Collecting Area: Latin American Art
Curatorial Notes: Pablo Vargas Lugo belongs to a generation of conceptual artists who emerged in Mexico in the 1990s and rebelled against painting and the nationalistic tendencies of Mexican art. In 1994, he began creating his trademark cut-paper drawings. The works, which draw on familiar styles and signs, are complex visual puns that subvert the viewer's referents. Here, twenty-four sheets of music are peppered with rocks derived from Chinese painting and Japanese anime. The contiguous placement of the sheets creates the expectation that they can be read as a music score, an expectation that can never quite be fulfilled.
Ilona Katzew, 2008