Prey and Predator: Traces of Illegality and Violence



September 4 – November 23, 2014

Moris (Mexico City, 1978) nurture his work by the exploration, observation and analysis of visual urban culture, configuring a cartography of the social context that surrounds illegality and violence in Mexico City. This mapping-out frames a socio-political context with high indexes of marginality where a diversity of conflictive relations take place.

The artist’s work centers on the traffics that originate in between the imbalances generated by power and violence. Some of the elements in his works are extracted from specific contexts—as such, they constitute a record of illegal dynamics and violence—while activating an experience by which the spectator is confronted with objects extracted from seemingly invisible environments that have been dislocated by community violence.

This exhibition aims to reveal traces and codes of subjects inserted in the variables caused by macroeconomic dynamics such as unemployment and poverty. As a result, these people wind-up in a marginal context where they are obliged to generate forms of auto-employment—stemmed from illegality—conforming a fundamental element in the logic of violence that permeates life in this city.

Some of these social entities can be allocated in relation to the concept of “insignificant subjects”, that is to say, individuals deprived of any law that could guarantee their safety and sustenance, forced to exist as vulnerable beings completely detached from society. The precariousness that undermines their existence inevitably evolves into the violence that Moris represents.

Regarded from this point of view, Moris’s work is a material activation of violence imaginaries which involve strategies that rely on documents of illicit activities, found objects, and installations that displace the marginality lived in the streets to the exhibition space, articulating among all of them the overflows of a systemic order.

Yameli Mera