Maximiliano Cervantes


Recent Works


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I Don't Write I Make Images Collapsing Mars and The Wastelands of The Borderlands In the Homelands of Gore Capitalism I Clock In To My Long Distance Intimate Auto-Ethnographic Studio Standardizing Image Making In The Past Present Future Living Landscape Portraiture Documentation and Fabrication of Anthropological Studies Images Exist Within Mythological Storytelling Crossing Evidence With Alchemy In My Wastelands of The Borderlands In the Homelands of Gore Capitalism SpaceX Produces The Starship Rocket The United States Interplanetary Vessel Under God In My Efficient Long Distance Intimate Auto-Ethnographic Studio With Burnt Coffee and Persistent Tension I Appropriate From My Fathers Labor at .001” of Sweat A Structural Mechanic For United Launch Alliance An Intimate Relationship Between Lockheed Martin and Boeing In Harlingen, Texas After Breaks and Dirty Jokes My Dad and His Friends Shot Magically Sanitized Rivets Building Atlas V The Payload Fairing For Space Exploration Colonization War Surveillance Satellites Militarized Communications and Mars Curiosity Rover I Use Curiosity In My Gridded Dioramas Large Scale Inkjet Prints Manual Perfection Magnifying The Catastrophe of Mars Staging The Body Shirtless Dusty Stainless Steel Reflection Sterile Topography Artificial Indexical Obsessive Nightmare Together In A Man Made Dehydrated Nation I Was Born Politicized In-between Two Countries Where The Reproduction of Images Lives.



b.1999 In Harlingen, Texas
Living and Working In My Long Distance Intimate Auto-Ethnographic Studio In Chicago, IL
BFA From The School of The Art Institute of Chicago 2021
MFA at Northwestern University In Art, Theory, And Practice 2024

maximilianocervan@gmail.com

Frontier Technologies
2021

Running time: 20:56




Stills





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Project Statement:
In the video Frontier Technologies, the concept of a borderless future is explored through autoethnography. With artistic labor, the border landscape is built, followed by a break to observe the blimps watching the border and concluding with the folding of the border wall. The chroma key on a green tarp and copy paper allows for the visualization of a future with no boundaries and highlights the endangered species affected by the construction of the border wall. The green of the chroma key is resourceful, as it enables any object to be anything. In light of the growing tension at the border, it is essential to expose the aggressive infrastructure that surveils La Frontera and to consider the consequences of the complex history between Mexico and The United States.