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Miguel Ventura has elaborated a controversial body of work, creating a new world with its own structure, race and language: NILC (New Interterritorial Language Committee). His complex and methodological creation of an atypical social model is presented through a series of installations, videos, objects, decorations, constructions, music, paintings, drawings, frames, etc. that are based on parody and mockery, with an eye to labeling the patterns of behavior of daily life. Ventura’s work refers to notions of innocence, sexuality and masculinity. He reconstructs the signs of the past, such as the swastika, to denounce habitual practices. His work represents a retrospective look at conscience, so as to understand what needs to be amended.
Ventura’s most relevant individual exhibitions are: Cantos Cívicos. Un proyecto de NILC, curated by Juan de Nieves, Espai d’art Contemporani de Castelló, Castellón, Spain, 2007; ¿Cómo he de amarte mi pequeñín?, El ojo atómico, curated by Tomás Ruiz Rivas, Madrid, 2005; The P.M.S. Dilema, Museo de Arte Carrillo Gil, Mexico City, 2002; The New Fuck Me Little Daddy House, Flatland Gallery, Impakt Festival, Utrecht, Holland, 1999; Dibujos, Museo de Arte Moderno, Mexico city, 1979. Collective exhibitions: Rising Stars: North Latin Americans, Design District, Miami, 2006; Frontera. Esbozo para la creación de una sociedad del futuro, curated by Laboratorio Curatorial 060, Frontera Corozal, Chiapas, Mexico, 2006; Eco: Arte Contemporáneo Mexicano, curated by Osvaldo Sánchez, Centro Reina Sofía, Madrid, 2005; The Anthology of Art, Atelier Gerz, Martin Gropius-Bau, Berlin; ZKM, Karlsruhe, Bundeskunsthalle, Bonn, 2004; o.d.d. (orden del día) curated by Ery Camara, Museo de Arte Moderno, Mexico City, 2002; Cinco Continentes y una Ciudad, curated by Cuauhtémoc Medina, Museo de la Ciudad de México, Mexico City, 1999.
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