{"id":15623,"date":"2021-12-02T16:31:31","date_gmt":"2021-12-02T16:31:31","guid":{"rendered":"http:\/\/www.galerieartconcept.com\/?p=15623"},"modified":"2026-03-24T15:26:37","modified_gmt":"2026-03-24T15:26:37","slug":"tania-perez-cordova","status":"publish","type":"post","link":"https:\/\/www.galerieartconcept.com\/en\/tania-perez-cordova\/","title":{"rendered":"Tania P\u00e9rez C\u00f3rdova"},"content":{"rendered":"\n
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Vue d’exposition \/ Installation views; Obras de la Colecci\u00f3n Jumex, Museo Jumex. 2025<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation views; Obras de la Colecci\u00f3n Jumex, Museo Jumex. 2025<\/figcaption><\/figure>\n\n\n\n
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Viaje a la luna, June 12\u2013October 11, 2025; installation view, CCA Wattis Institute for Contemporary Arts. Photo by Chris Grunder.<\/figcaption><\/figure>\n\n\n\n
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Viaje a la luna, June 12\u2013October 11, 2025; installation view, CCA Wattis Institute for Contemporary Arts. Photo by Chris Grunder.<\/figcaption><\/figure>\n\n\n\n
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Installation view of Fictions of Display, June 29, 2025\u2013January 4, 2026 at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art (MOCA). Photo by Jeff McLane.<\/figcaption><\/figure>\n\n\n\n
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Installation view of Fictions of Display, June 29, 2025\u2013January 4, 2026 at MOCA Grand Avenue. Courtesy of the Museum of Contemporary Art (MOCA). Photo by Jeff McLane.<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY, 2023.
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY, 2023.
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY, 2023.
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY, 2023.
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY, 2023.
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Exhibition view Generalization,Tania P\u00e9rez C\u00f3rdova, Sculpture Center NY, 2023.
The exhibition is organized by Museo Tamayo, Mexico City, and is curated by Humberto Moro, Deputy Director of Program, Dia Art Foundation (former Deputy Director and Senior Curator, Museo Tamayo). Photo Charles Benton<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue d’exposition \/ Installation view Tania P\u00e9rez C\u00f3rdova. Generalization, Museo Tamayo, 2022.
Photography by Gerardo Landa and Eduardo L\u00f3pez (GLR Estudio). Courtesy of Museo Tamayo.<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition\/Installation view, Tania P\u00e9rez C\u00f3rdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition\/Installation view, Tania P\u00e9rez C\u00f3rdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition\/Installation view, Tania P\u00e9rez C\u00f3rdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Vue de l’exposition\/Installation view, Tania P\u00e9rez C\u00f3rdova, All our explanations, Art: Concept, 2022. Courtesy of the artist & Art : Concept, Paris. Photo by: Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Strelitzia, 2022, Artificial plant, stainless steel, chain, Leaf 80 x 27 x 38 cm ; chain : variable dimensions. Courtesy of the artist & Art : Concept, Paris. Photo \u00a9 Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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The politicians are saying (Los pol\u00edticos est\u00e1n diciendo), 2022 , Aluminium cast, water, artificial saliva, plastic irrigation system, dripping timed to a speech, 74 \u00d7 80 \u00d7 64 cm (29 \u215b \u00d7 31 \u00bd \u00d7 25 \u00bc inches, Courtesy of the artist & Art : Concept, Paris. Photo \u00a9 Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Todas nuestras explicaciones, 2022, B\u00e9ton color\u00e9, glace en train de fondre, 26,5 x 38 x 9,5cm. Courtesy of the artist & Art : Concept, Paris. Photo Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Strike (Huelga), 2018-2022, Bread cooked with cigarettes. Reenactment of a strike, 17,5 \u00d7 15 \u00d7 14 cm (6 \u215e \u00d7 5 \u215e \u00d7 5 \u00bd inches), Courtesy of the artist & Art : Concept, Paris. Photo \u00a9 Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Empty days (Found dead bees, shade of 11 inches macbook air, red velvet lipstick, fragment of a plastic bag, thread, fragment of a tag, tape, paper found on wet pavement, fragment of a leaf, fragment of packing material, lettuce leaf, candy wrapping, dust, color. We didn\u2019t need all those things we bought), 2022, Stratified glass, mixed materials, stainless steel, 140 \u00d7 80 \u00d7 3 cm (55 \u215b \u00d7 31 \u00bd \u00d7 1 \u215b inches), Courtesy of the artist & Art : Concept, Paris. Photo \u00a9 Nicolas Brasseur<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Small Tragedies 1 (There are dead bees on the ground, they are in extinction, I explain it to my son, whose clothes no longer fit, and have holes, other holes are made by pests, others can be handmade, it is triple filter, it is just dust, It’s blush, it’s trash, it is myopia, it is astigmatism; we didn’t need all those things we bought.), 2021, Stratified glass: reused museum window, found bees, contact lenses, fragments of clothes, receipts, leaf, blush, dust, bread crumbles, fragment of N95 mask, plastic bag, plasticine, tape, uv filter. 150 \u00d7 80 cm (59 \u00d7 31 \u00bd inches)<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Substraction 1, 2018, Iron (Le Creuset Dutch casserole dish that has been cast, melted, and remelted in its own mold), 2 parts, pot 31 x 22 x 10 cm; lid: 24.4 x 15 cm.<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Sincere I Non-sincere, 2018, gold facsimile necklace, obsidian, water, 26 x 44 x 13 cm. Photo Fabrice Gousset<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Paisaje, 2018, aluminum, various materials (fragment of fence cast, melted, and recast in its own mold), dimensions variable<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, Paisaje, 2018, aluminum, various materials (fragment of fence cast, melted, and recast in its own mold), dimensions variable (detail)<\/figcaption><\/figure>\n\n\n\n
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Voice, 2013
Sim card emprunt\u00e9e \/ Borrowed sim card, c\u00e9ramique
36.5 x 25.8 cm (14 3\/8 x 10 3\/16 inches). Photo Claire Dorn. Courtesy of the artist, Jos\u00e9 Garc\u00eda and Galerie Perrotin<\/figcaption><\/figure>\n\n\n\n
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We belong \/ We Dissent (from the series Things in Pause), 2013\/17
marbre, adh\u00e9sif, corde de guitare
91 \u00d7 65 \u00d7 3 cm<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp H\u00e4nger \/ Kunsthalle Basel<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp H\u00e4nger \/ Kunsthalle Basel<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp H\u00e4nger \/ Kunsthalle Basel<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, installation view Daylength of a room, Kunsthalle Basel, 2018. Photo Philipp H\u00e4nger \/ Kunsthalle Basel<\/figcaption><\/figure>\n\n\n\n
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Hole E, 2020, Imprint of a hole dug in a field, earth, plant roots, plaster, mesh, enamel paint, South Sea pearl, artificial pearl, 80 \u00d7 66 \u00d7 26.7 cm (31 1\/2 \u00d7 26 \u00d7 10 1\/2 in).<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, installation view Short Sight Box, 2020, Tina Kim Gallery. Photo Hyunjung Rhee<\/figcaption><\/figure>\n\n\n\n
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Tania P\u00e9rez C\u00f3rdova, installation view Short Sight Box, 2020, Tina Kim Gallery. Photo Hyunjung Rhee<\/figcaption><\/figure>\n\n\n\n
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Person A, Person B, 2014
Sim card emprunt\u00e9e \/ Borrowed sim card, c\u00e9ramique
Dimensions variables<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Biography<\/h4>\n\n\n\n

Tania P\u00e9rez C\u00f3rdova (b. 1979) is a Mexican artist born in Mexico City where she lives and works. After studying at the school of Fine Arts in Mexico City, she went on to get a BA in Fine Art at Goldsmiths College in London.<\/p>\n\n\n\n

Tania P\u00e9rez C\u00f3rdova uses a large range of media, namely sculpture, found objects and installation, but also photography and performance, through which she explores the contextual relationship between everyday objects. The visual elements she presents are meant to be understood in the context of a larger narrative to which the titles give the keys – the artist likes to refer to her works as ‘situations’.<\/p>\n\n\n\n

\u00ab P\u00e9rez C\u00f3rdova layers different technologies, time periods and materials \u2014 gunpowder, cigarette ash, makeup, foam, bronze poured into sand, jewellery \u2014 to present poetic snapshots of a narrative that has already happened or might yet take place. Her elegant sculptures are questions hanging in the air, a feeling unarticulated.<\/p>\n\n\n\n

In her intimate creations, vestiges of human presence can be discerned as objects are given new purposes; a medallion of melted beer cans trapped between reused window glass, a bronze cast of someone\u2019s pocket, a coloured contact lens on marble. She often activates her sculptures through a playfully performative element such as having a person in the gallery wear the partner contact lens or earring to one in a sculpture. \u00bb*<\/p>\n\n\n\n

*Text by d\u2019Elizabeth Fullerton<\/p>\n\n\n\n

Her work has been shown in solo exhibitions at Sculpture Center, New York (2023), Museo Tamayo, Mexico (2022-2023), Kunsthalle Basel (2018), the Museum of Contemporary Art in Chicago (2017). Her work is part of important public collections such as Museum of Contemporary Art Chicago\/US, Tamayo Museum\/MEX, Jumex Collection\/MEX, San Francisco Moma\/US, Cisneros Collection\/US-VEN, Museo Amparo\/MEX.<\/p>\n\n\n\n

‘All our explanations’ showed at Art:Concept in January 2022 is her first solo exhibition in France.<\/p>\n\n\n\n

At the gallery<\/h4>\n\n\n\n