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Carlos Amorales presents 'We Will See How Everything Reverberates' at Turner Contemporary
Carlos Amorales, We Will See How Everything Reverberates, 2012. Installation of three hanging mobiles with cymbals. Steel, copper and epoxy paint. Courtesy the Artist.

MARGATE.- As part of The Year of Mexico 2015, Turner Contemporary presents, for the first time in the UK, We Will See How Everything Reverberates (2012), an installation by Mexican artist Carlos Amorales (born 1970, Mexico City).

Made up of three suspended mobiles with cymbals, We Will See How Everything Reverberates is based on the organic shapes created by the influential twentieth-century sculptor Alexander Calder (1898 –1976). In Calder’s delicately balanced mobile sculptures, cut-out shapes recalling natural forms were moved by air currents in the room. In this installation, over 30 different cymbals are hung in the space, creating a large-scale mobile as well as a huge musical instrument. Visitors to Turner Contemporary are invited to play the cymbals using one of the mallets provided.

Carlos Amorales’ work in film and video, painting, drawing, sculpture and performance examines contemporary Mexican culture and values. His earlier works were based on his search for identity and often used the idea of the mask. In 2003 his famous series of performances by masked Mexican wrestlers was performed at Tate Modern, the Pompidou Centre and the San Francisco Museum of Modern Art.

We Will See How Everything Reverberates inhabits Turner Contemporary’s Sunley Gallery, with its double height windows and spectacular views over the North Sea. We Will See How Everything Reverberates is the sixth major installation to be exhibited in the Sunley Gallery following work by Daniel Buren, Auguste Rodin, Maria Nepomuceno, Juan Muñoz and Edmund de Waal.

Exploring questions of concealment and identity, the artist Carlos Amorales works in a variety of media—from paintings and drawings to animations and performances—to explore the cultural heritage of his native Mexico. In one of his earliest performance pieces, Amorales vs. Amorales (1999), lucha libre wrestlers grapple in a ring, masks concealing their identities, as the artist directs the brutal struggle. Fascinated by horror and fantasy, Amorales also creates worlds populated with ambiguous figures, uncertain morals, and ghostly silhouettes. In Four Animations

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