Oscar Murillo – South London Gallery

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the title relates to a trip I was involved in in the summer, I was in Colombia, you know the equator touches crosses Colombia, the Southern part of Colombia And I am from that region, so when I was on the strip I kept calling people, people you know say
‘you’re on the equator’ it is something I just completely
don’t see It was just an interesting thing to then be conscious of and so the equator kind of reminded me that, you know, there are all these other parts of the world that – at least for me – I overlooked. That is how I started to think about the show. Then I thought, living in this diverse part of London, you know, in the East End… I had been there for 15 years, and more so in the last 10 years, there’s been this diversity of produce that has been brought in from Latin America, from Asia, Africa. Through that thread I wanted to create a piece of work that made me conscious and hopefully made other people conscious, of these kind of expansions, this global expansions, these cultural expansions you know, corn is something that I grew
up with but as a resonance to our cultures and and or a sort of, societies that I haven’t interacted with I wanted the exhibition space to allude to my studio, But also, you know, be concerned about aesthetic decisions, decisions to do with sculpture, relationship to your awareness in the space your body awareness in the space Most of the things I make are on the floor, you know things happen on the floor, in terms of making, nothing really takes place on the wall, polled paper that has been rendered on the canvases, that is now the floor, in the exhibition So it was as much about translating a process but also knowing that this is a space where audiences – and the public – inhabit too I didn’t really know what the configuration of the show would be how it came together.. I am not gonna say that at the last minute [laugh] but came together, you know, I guess, right at the end when execution was just about to begin. It was a very interesting endeavour most countries have lotteries, I used to sell lottery tickets when I was a kid, but that’s besides the point I’m and I
guess it will use when mission is but that’s beside the point. I guess the only reason why I mention it, is because that is the micro-relationship that I have. The lottery, like Bingo, I think, is usually linked to the working class. With this project I wanted to flip the idea of what a lottery is not a pound, the lottery is not even £100… we’re talking about a lottery that is £2500. Of course it is not accessible to everybody, there will be a reward and there will be a prize, there will be 3 prizes I can’t discuss those prizes, they will be lying with the elements of my work “Ok… this is called Lechona, it is basically rice, peas, pork meat.. ” and this is “Tamales”, they are very popular in Colombia I’ve always been around family, you know, I have always been around my parents and my uncles and they migrated with me so, you know, it would actually be very strange and weird if I didn’t include them in my work You know because then it would contradict itself. How the space was set up, as a show was very nice for the dinner that we held at the show itself, in the exhibition space

8 comments

  1. Wow, how can he do such amazing work like a big fucking squiggle and the word burrito without any assistants? I simply cannot accept this as fact. There must be a team of Yale grads coming up with this amazing, intricate and well crafted output. Hey, art world: you got punk'd.

  2. Este es otro suertudo del  mercado ,…por que de artista no tiene nada,…pero igual la gente tinene el derecho a gastarde sus dinero como quiera y si a alguien le gusta esa basura pues muy bueno para este muchacho,…..que le agregue jugo de tamarindo y asi le va a provocar gases a los espectadores y podran expresarsar con peos lo que sienten de la obra……..con todo respeto ….que fiasco.

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