Inspirada en los artículos de consumo, el desperdicio industrial y las narrativas y objetos autobiográficos, Cris Tufiño (Puerto Rico, 1982) aborda su práctica como la de una arqueóloga acumuladora que escarba dentro de un amplio sistema cultural lleno de referencias, haciendo énfasis en la forma en la que se presentan los artefactos y la estética museográfica tradicional. Su trabajo surge de diversos procesos de ensamblaje al igual que del ejercicio de asociar y traducir ideas e imágenes inspiradas en lenguajes aparentemente disímiles. Las composiciones fotográficas de Tufiño, al igual que sus impresiones, esculturas, instalaciones y videos, re significan lo que entendemos por prácticas post-estudio, así como el uso del residuo social de nuestros tiempos.
Cris Tufiño vive y trabaja en Caguas, Puerto Rico. Algunas de sus exhibiciones y proyectos más recientes incluyen: Salted Swamp for a Sweet Slit, Nicole Chaput + Cris Tufiño, (Galería Agustina Ferreyra x Commonwealth and Council, 2022), El Momento del Yagrumo (Curado por Marina Reyes Franco, Museo de Arte Contemporaneo, 2021) Dancing At The End of The World (Galería Agustina Ferreyra, 2019) The Other Side of Now: Foresight in Contemporary Caribbean Art (Curado por Maria Elena Ortiz, Perez Art Museum (PAMM), 2019) Millenium Mambo (Greenwich House Pottery, 2018) Gran Turismo (Selena Gallery, 2018); Clay Today (The Hole, 2018)
Inspired by consumer goods, industrial debris, and autobiographical narratives and objects, Cris Tufiño (Puerto Rico, 1982) addresses her practice as an archaeologist hoarder rummaging through a broad cultural system of references, with a particular nod to artifacts and museological aesthetics. Her multi-media works arise from assembling, associating, and translating images and ideas inspired by seemingly oppositional languages and spaces. Tufiño’s photographic compositions, prints, videos, installations, paintings, and sculptures give a new meaning to post-studio practices and social debris in our time.
Cris Tufiño lives and works in Caguas, Puerto Rico. Select recent exhibitions and projects include Salted Swamp for a Sweet Slit, Nicole Chaput + Cris Tufiño, (Galería Agustina Ferreyra x Commonwealth and Council, 2022), El Momento del Yagrumo (curated by Marina Reyes Franco, Museo de Arte Contemporaneo, 2021); Dancing At The End of The World (Galería Agustina Ferreyra, 2019); The Other Side of Now: Foresight in Contemporary Caribbean Art (curated by Maria Elena Ortiz, Perez Art Museum (PAMM), 2019) Millenium Mambo (Greenwich House Pottery, 2018) Gran Turismo (Selena Gallery, Brooklyn, 2018); Clay Today (The Hole, 2018
Installation view of La casa erosionada, curated by Karla Niño de Rivera. Museo Anahucalli, México (2023)
Exhibition view Salted Swamp For A Sweet Slit: Cris Tufiño and Nicole Chaput. Galería Agustina Ferreyra, México (2022)
Agog, 2022
Ink and watercolor on paper
50 × 37 cm (19 ⅝ × 14 ⅝ inches)
Exhibition view of Hapticity: A Theory of Touch and Identity – (group exhibition). Lychee One, London (2021)
Installation view, Dancing At The End Of The World, Galería Agustina Ferreyra, México (2019)
Meow 2, 2019
Ink on paper
79 × 58 cm (31 ⅛ × 22 ⅞ inches)
Saint Lisieux, 2019
Glazed ceramic
26 × 7 × 4 cm (10 ¼ × 2 ¾ × 1 ⅝ inches)
Exhibition view, The Other Side of Now: Foresight in Contemporary Caribbean Art- (group exhibition), curated by María Elena Ortiz. Pérez Art Museum, Miami (2019)
GOMY, 2018
Low fire ceramic, cold finished
45.72 × 45.72 × 20.32 cm (18 × 18 × 8 inches)
Exhibition view, Happy Mind – Natural High
Misako & Rosen, Tokyo, Japan (2018)
Morir Soñando, 2018
Exhibition view
Knockdown Center, Queens, US
Millenium Mambo, 2018
Exhibition view
Greenwhich Pottery House, New York, US
Millenium Mambo, 2018
Installation view
Greenwhich Pottery House, New York, US
San Isidro’s Still, 2018
Installation view
Anonymous Gallery, CDMX
Installation view, Dancing At The End Of The World. Galería Agustina Ferreyra, México (2019)
Ace of Pentys, 2019
Neon sign, plexiglass
115 x 115 cm (45 1/4 x 45 1/4 inches).