{"id":15625,"date":"2021-12-02T16:31:34","date_gmt":"2021-12-02T16:31:34","guid":{"rendered":"http:\/\/www.galerieartconcept.com\/?p=15625"},"modified":"2026-03-24T15:26:26","modified_gmt":"2026-03-24T15:26:26","slug":"tania-perez-cordova","status":"publish","type":"post","link":"https:\/\/www.galerieartconcept.com\/fr\/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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Vue d’installation de Fictions of Display, du 29 juin 2025 au 4 janvier 2026 au MOCA Grand Avenue. Avec l\u2019aimable autorisation du Museum of Contemporary Art (MOCA). Photo : Jeff McLane.<\/figcaption><\/figure>\n\n\n\n
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Vue d’installation de Fictions of Display, du 29 juin 2025 au 4 janvier 2026 au MOCA Grand Avenue. Avec l\u2019aimable autorisation du Museum of Contemporary Art (MOCA). Photo : Jeff McLane.<\/figcaption><\/figure>\n\n\n\n
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Viaje a la luna, 2025. Vue d’exposition, CCA Wattis Institute for Contemporary Arts. Photo by Chris Grunder.<\/figcaption><\/figure>\n\n\n\n
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Viaje a la luna, 2025. Vue d’exposition, CCA Wattis Institute for Contemporary Arts. Photo by Chris Grunder.<\/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

Biographie<\/h4>\n\n\n\n

Tania P\u00e9rez C\u00f3rdova (n\u00e9e en 1979) est une artiste mexicaine n\u00e9e \u00e0 Mexico o\u00f9 elle vit et travaille. Apr\u00e8s avoir \u00e9tudi\u00e9 \u00e0 l’\u00e9cole des beaux-arts de Mexico, elle a obtenu une licence en beaux-arts au Goldsmiths College de Londres.<\/p>\n\n\n\n

L\u2019\u0153uvre de Tania P\u00e9rez C\u00f3rdova se d\u00e9veloppe \u00e0 travers une grande vari\u00e9t\u00e9 de m\u00e9diums, \u00e0 savoir la sculpture, les objets trouv\u00e9s et l\u2019installation, mais aussi la photographie et la performance gr\u00e2ce auxquels elle explore les relations contextuelles qui se tissent entre les objets du quotidien. Les \u00e9l\u00e9ments visuels qu\u2019elle nous pr\u00e9sente sont en effet \u00e0 comprendre dans le contexte d\u2019une narration plus large dont les titres donnent les cl\u00e9s – l\u2019artiste aime d\u2019ailleurs parler de \u00ab situations \u00bb pour d\u00e9signer ses \u0153uvres.<\/p>\n\n\n\n

\u00ab L\u2019\u0153uvre de Tania P\u00e9rez C\u00f3rdova se r\u00e9v\u00e8le par strates de diff\u00e9rentes technologies, \u00e9poques et mat\u00e9riaux \u2013 poudre \u00e0 canon, cendres de cigarette, maquillage, mousse, bronze vers\u00e9 dans du sable, bijoux \u2013 pour pr\u00e9senter de po\u00e9tiques clich\u00e9s d\u2019une narration pass\u00e9e ou qui peut encore advenir. Ses sculptures \u00e9l\u00e9gantes sont des questions qui flottent dans l\u2019air, un sentiment inarticul\u00e9.<\/p>\n\n\n\n

Dans ses cr\u00e9ations intimes, les vestiges de la pr\u00e9sence humaine peuvent \u00eatre d\u00e9cel\u00e9s l\u00e0 o\u00f9 de nouvelles fonctions sont donn\u00e9es aux objets ; un m\u00e9daillon en cannettes de bi\u00e8re fondues pi\u00e9g\u00e9 entre une fen\u00eatre en verre recycl\u00e9e, un moulage en bronze de la poche de quelqu\u2019un, une lentille de contact color\u00e9e sur du marbre. Elle active souvent ses sculptures \u00e0 travers un jeu performatif, comme par exemple par la pr\u00e9sence d\u2019une personne dans la galerie portant la lentille de contact ou la boucle d\u2019oreille dont le double fait partie de l\u2019une des sculptures. \u00bb*<\/p>\n\n\n\n

*Texte d\u2019Elizabeth Fullerton<\/p>\n\n\n\n

Son travail a \u00e9t\u00e9 pr\u00e9sent\u00e9 dans des expositions personnelles au Sculpture Center de New York (2023) au Museo Tamayo de Mexico (2022-2023), \u00e0 la Kunsthalle de B\u00e2le (2018) et au Mus\u00e9e d’art contemporain de Chicago (2017). Il fait partie d’importantes collections publiques telles que celles des Museum of Contemporary Art Chicago\/US, Tamayo Museum\/MEX, Jumex Collection\/MEX, San Francisco Moma\/US, Cisneros Collection\/US-VEN, Museo Amparo\/MEX, Adrastus collection\/ESP.<\/p>\n\n\n\n

‘All our explanations’ pr\u00e9sent\u00e9e chez Art : Concept en janvier 2022 est sa premi\u00e8re exposition personnelle en France.<\/p>\n\n\n\n

\u00c0 la galerie<\/h4>\n\n\n\n