{"id":9169,"date":"2022-09-03T22:19:18","date_gmt":"2022-09-04T04:19:18","guid":{"rendered":"http:\/\/nmcontemporaneo.com\/?page_id=9169"},"modified":"2025-06-23T12:20:36","modified_gmt":"2025-06-23T18:20:36","slug":"mauricio-cervantes","status":"publish","type":"page","link":"https:\/\/nmcontemporaneo.com\/en\/catalogue\/paintings\/mauricio-cervantes-en\/","title":{"rendered":"Mauricio Cervantes"},"content":{"rendered":"<p style=\"text-align: center;\"><a href=\"https:\/\/nmcontemporaneo.com\/catalogo\/pintura\/nora-adame-alejandro-osorio\/\">&lt;&lt; Previous<\/a> | <a href=\"\/catalogo\/todos-los-artistas\/\">Artists<\/a> | <a href=\"https:\/\/nmcontemporaneo.com\/catalogo\/pintura\/fred-stonehouse\/\">Next &gt;&gt;<\/a><\/p>\n<div id=\"kad-wp-gallery493\" class=\"kad-wp-gallery gallery kt-gallery-column-3 init-isotope-intrinsic reinit-isotope kad-light-wp-gallery clearfix rowtight\" data-fade-in=\"1\" data-iso-selector=\".g_item\" data-iso-style=\"masonry\" data-iso-filter=\"false\"><div class=\"tcol-lg-4 tcol-md-4 tcol-sm-4 tcol-xs-6 tcol-ss-12 g_item\"><div class=\"grid_item kt_item_fade_in kad_gallery_fade_in gallery_item\"><a href=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec.jpg\" data-rel=\"lightbox\" class=\"lightboxhover\"><div class=\"kt-intrinsic\" style=\"padding-bottom:98.633879781421%;\"><div itemprop=\"image\" itemscope itemtype=\"https:\/\/schema.org\/ImageObject\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"361\" src=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec-366x361.jpg\" srcset=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec-366x361.jpg 366w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec-300x296.jpg 300w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec-100x100.jpg 100w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec.jpg 620w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" data-caption=\"CHAPULTEPEC,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8\" class=\"light-dropshaddow\" itemprop=\"contentUrl\" alt=\"\"><meta itemprop=\"url\" content=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Chapultepec-366x361.jpg\"><meta itemprop=\"width\" content=\"366px\"><meta itemprop=\"height\" content=\"361px\"><\/div><\/div><div class=\"caption kad_caption\"><div class=\"kad_caption_inner\">CHAPULTEPEC,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8<\/div><\/div><\/a><\/div><\/div><div class=\"tcol-lg-4 tcol-md-4 tcol-sm-4 tcol-xs-6 tcol-ss-12 g_item\"><div class=\"grid_item kt_item_fade_in kad_gallery_fade_in gallery_item\"><a href=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris.jpg\" data-rel=\"lightbox\" class=\"lightboxhover\"><div class=\"kt-intrinsic\" style=\"padding-bottom:100%;\"><div itemprop=\"image\" itemscope itemtype=\"https:\/\/schema.org\/ImageObject\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"366\" src=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-366x366.jpg\" srcset=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-366x366.jpg 366w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-300x300.jpg 300w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-150x150.jpg 150w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-456x456.jpg 456w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-100x100.jpg 100w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris.jpg 607w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" data-caption=\"ROBERT MORRIS,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8\" class=\"light-dropshaddow\" itemprop=\"contentUrl\" alt=\"\"><meta itemprop=\"url\" content=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Robert-Morris-366x366.jpg\"><meta itemprop=\"width\" content=\"366px\"><meta itemprop=\"height\" content=\"366px\"><\/div><\/div><div class=\"caption kad_caption\"><div class=\"kad_caption_inner\">ROBERT MORRIS,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8<\/div><\/div><\/a><\/div><\/div><div class=\"tcol-lg-4 tcol-md-4 tcol-sm-4 tcol-xs-6 tcol-ss-12 g_item\"><div class=\"grid_item kt_item_fade_in kad_gallery_fade_in gallery_item\"><a href=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion.jpg\" data-rel=\"lightbox\" class=\"lightboxhover\"><div class=\"kt-intrinsic\" style=\"padding-bottom:99.180327868852%;\"><div itemprop=\"image\" itemscope itemtype=\"https:\/\/schema.org\/ImageObject\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"363\" src=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion-366x363.jpg\" srcset=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion-366x363.jpg 366w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion-300x298.jpg 300w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion-150x150.jpg 150w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion-100x100.jpg 100w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion.jpg 612w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" data-caption=\"TRANSMUTACI\u00d3N,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8\" class=\"light-dropshaddow\" itemprop=\"contentUrl\" alt=\"\"><meta itemprop=\"url\" content=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Transmutacion-366x363.jpg\"><meta itemprop=\"width\" content=\"366px\"><meta itemprop=\"height\" content=\"363px\"><\/div><\/div><div class=\"caption kad_caption\"><div class=\"kad_caption_inner\">TRANSMUTACI\u00d3N,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8<\/div><\/div><\/a><\/div><\/div><div class=\"tcol-lg-4 tcol-md-4 tcol-sm-4 tcol-xs-6 tcol-ss-12 g_item\"><div class=\"grid_item kt_item_fade_in kad_gallery_fade_in gallery_item\"><a href=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente.jpg\" data-rel=\"lightbox\" class=\"lightboxhover\"><div class=\"kt-intrinsic\" style=\"padding-bottom:99.726775956284%;\"><div itemprop=\"image\" itemscope itemtype=\"https:\/\/schema.org\/ImageObject\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"365\" src=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-366x365.jpg\" srcset=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-366x365.jpg 366w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-300x300.jpg 300w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-150x150.jpg 150w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-456x456.jpg 456w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-100x100.jpg 100w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-400x400.jpg 400w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente.jpg 593w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" data-caption=\"ABEJA Y SERPIENTE,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n78.2 cm \u00d8\" class=\"light-dropshaddow\" itemprop=\"contentUrl\" alt=\"\"><meta itemprop=\"url\" content=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Abeja-y-serpiente-366x365.jpg\"><meta itemprop=\"width\" content=\"366px\"><meta itemprop=\"height\" content=\"365px\"><\/div><\/div><div class=\"caption kad_caption\"><div class=\"kad_caption_inner\">ABEJA Y SERPIENTE,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n78.2 cm \u00d8<\/div><\/div><\/a><\/div><\/div><div class=\"tcol-lg-4 tcol-md-4 tcol-sm-4 tcol-xs-6 tcol-ss-12 g_item\"><div class=\"grid_item kt_item_fade_in kad_gallery_fade_in gallery_item\"><a href=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines.jpg\" data-rel=\"lightbox\" class=\"lightboxhover\"><div class=\"kt-intrinsic\" style=\"padding-bottom:98.633879781421%;\"><div itemprop=\"image\" itemscope itemtype=\"https:\/\/schema.org\/ImageObject\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"361\" src=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines-366x361.jpg\" srcset=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines-366x361.jpg 366w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines-300x296.jpg 300w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines-100x100.jpg 100w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines.jpg 634w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" data-caption=\"SEIS CHAPULINES,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8\" class=\"light-dropshaddow\" itemprop=\"contentUrl\" alt=\"\"><meta itemprop=\"url\" content=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Seis-chapulines-366x361.jpg\"><meta itemprop=\"width\" content=\"366px\"><meta itemprop=\"height\" content=\"361px\"><\/div><\/div><div class=\"caption kad_caption\"><div class=\"kad_caption_inner\">SEIS CHAPULINES,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8<\/div><\/div><\/a><\/div><\/div><div class=\"tcol-lg-4 tcol-md-4 tcol-sm-4 tcol-xs-6 tcol-ss-12 g_item\"><div class=\"grid_item kt_item_fade_in kad_gallery_fade_in gallery_item\"><a href=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua.jpg\" data-rel=\"lightbox\" class=\"lightboxhover\"><div class=\"kt-intrinsic\" style=\"padding-bottom:99.726775956284%;\"><div itemprop=\"image\" itemscope itemtype=\"https:\/\/schema.org\/ImageObject\"><img loading=\"lazy\" decoding=\"async\" width=\"366\" height=\"365\" src=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-366x365.jpg\" srcset=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-366x365.jpg 366w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-300x300.jpg 300w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-150x150.jpg 150w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-456x456.jpg 456w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-100x100.jpg 100w, https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua.jpg 619w\" sizes=\"auto, (max-width: 366px) 100vw, 366px\" data-caption=\"GLIFO DE AGUA,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8\" class=\"light-dropshaddow\" itemprop=\"contentUrl\" alt=\"\"><meta itemprop=\"url\" content=\"https:\/\/nmcontemporaneo.com\/wp-content\/uploads\/2025\/02\/Mauricio-Cervantes-Glifo-de-agua-366x365.jpg\"><meta itemprop=\"width\" content=\"366px\"><meta itemprop=\"height\" content=\"365px\"><\/div><\/div><div class=\"caption kad_caption\"><div class=\"kad_caption_inner\">GLIFO DE AGUA,\nImpresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal,\n48.2 cm \u00d8<\/div><\/div><\/a><\/div><\/div><\/div>\n<p style=\"font-weight: 400;\">Mauricio Cervantes works with rubber tesserae, cubic mosaics inspired by the Roman tesserae. To reveal&nbsp; shows the imprint of the mold used to make them,&nbsp; integrating the work way to index your creative process. This footprint suggests that the confrontation with this material leads to a process of industrial and digital production. Ironically process to create images which commonly appear ornaments, details and commentary on human nature. His series Pregnant woman talking as a generator of life and the relationship between the pregnant belly and oriental myth of the cosmic egg of the universe generator. In his own words, &nbsp;doubt there is more organic matter to the treaty in this series. And he&#8217;s right. His theme, life, gives great strength between inspiration and meanings emanating from it.The tesserae that make up their pregnant silhouettes are red to remind us that if life is the most organic topic, the color red is more symbolic of life because it is the color of vital fluid that runs through our veins.<\/p>\n\n<div class=\"sp-wrap sp-wrap-default\">\n<div class=\"sp-head\" title=\"Expand\">\nCurriculum Vitae\n<\/div>\n<div class=\"sp-body folded\">\n<p><strong>Mauricio Cervantes<\/strong><\/p>\n<p data-start=\"57\" data-end=\"343\"><strong>PROFESSIONAL TRAINING<\/strong><br data-start=\"78\" data-end=\"81\" \/>1987\u201389 B.A. in Visual Arts, National School of Plastic Arts (ENAP), National Autonomous University of Mexico (UNAM). Graduated with the thesis <em data-start=\"225\" data-end=\"245\">El sue\u00f1o de D\u00e9dalo<\/em>, supervised by Francisco Castro Le\u00f1ero<br data-start=\"284\" data-end=\"287\" \/>1989\u201391 Production workshop with Ignacio Salazar, UNAM<\/p>\n<p data-start=\"345\" data-end=\"358\"><strong>SOLO EXHIBITIONS<br \/>\n<\/strong>2009 <em data-start=\"372\" data-end=\"399\">Memoria de un hermenauta.<\/em> Centro de las Artes 2: Antiguo Parque Fundidora, Monterrey, N.L.<br data-start=\"464\" data-end=\"467\" \/>2008 <em data-start=\"472\" data-end=\"490\">Trama expansiva.<\/em> Galer\u00eda Ethra, Mexico City<br data-start=\"517\" data-end=\"520\" \/>2006 <em data-start=\"525\" data-end=\"563\">Embarcaciones Corrientes Detectores.<\/em> Galer\u00eda Terremoto 34, Mexico City<br data-start=\"597\" data-end=\"600\" \/>2004 <em data-start=\"605\" data-end=\"634\">Embarcaciones y corrientes.<\/em> Galer\u00eda Arte Actual Mexicano, Monterrey, N.L.<br data-start=\"680\" data-end=\"683\" \/><em data-start=\"683\" data-end=\"713\">Territorios \/ Intervenciones<\/em>, with Francisco Castro Le\u00f1ero. Manuel Felgu\u00e9rez Museum of Abstract Art, Zacatecas<br data-start=\"795\" data-end=\"798\" \/>2003 <em data-start=\"803\" data-end=\"842\">Proyectos para estandartes y banderas<\/em>, The Gallery, Milan, Italy<br data-start=\"869\" data-end=\"872\" \/><em data-start=\"872\" data-end=\"885\">Mano a mano<\/em>, with Francisco Castro Le\u00f1ero. Presented during the Havana Graphic Biennial <em data-start=\"962\" data-end=\"980\">La joven Estampa<\/em>, Casa de las Am\u00e9ricas, Havana, Cuba<br data-start=\"1016\" data-end=\"1019\" \/>2002 <em data-start=\"1024\" data-end=\"1045\">Los ritos del agua.<\/em> Galer\u00eda Arte Actual Mexicano, Monterrey, N.L.<br data-start=\"1091\" data-end=\"1094\" \/><em data-start=\"1094\" data-end=\"1124\">Territorios \/ Intervenciones<\/em>, with Francisco Castro Le\u00f1ero. Instituto de Artes Gr\u00e1ficas de Oaxaca (Oaxaca) and Museo Erasto Cort\u00e9s (Puebla)<br data-start=\"1235\" data-end=\"1238\" \/>2000 <em data-start=\"1243\" data-end=\"1249\">XVI.<\/em> Galer\u00eda Espacio, Morges, Switzerland<br data-start=\"1286\" data-end=\"1289\" \/>1999 <em data-start=\"1294\" data-end=\"1315\">Thalassa, thalassa.<\/em> Galer\u00eda Arte Actual Mexicano, Monterrey, N.L.<br data-start=\"1361\" data-end=\"1364\" \/>1998 <em data-start=\"1369\" data-end=\"1389\">Papageno y el mar.<\/em> Galer\u00eda Unodosiete, Mexico City<br data-start=\"1421\" data-end=\"1424\" \/>1997 <em data-start=\"1429\" data-end=\"1444\">Zona liminal.<\/em> Amparo Museum (Puebla), Centro Cultural Tijuana (Baja California), Pinacoteca del Estado de Yucat\u00e1n<br data-start=\"1544\" data-end=\"1547\" \/>1995 <em data-start=\"1552\" data-end=\"1566\">Recent Work.<\/em> Galer\u00eda Arte Actual Mexicano, Monterrey, N.L.<br data-start=\"1612\" data-end=\"1615\" \/><em data-start=\"1615\" data-end=\"1661\">Variaciones florales y otras piezas sueltas.<\/em> Galer\u00eda Kin, Mexico City<br data-start=\"1686\" data-end=\"1689\" \/>1994 <em data-start=\"1694\" data-end=\"1723\">El c\u00f3digo de lo intangible.<\/em> Centro Cultural San \u00c1ngel, Mexico City<br data-start=\"1762\" data-end=\"1765\" \/>1990 <em data-start=\"1770\" data-end=\"1790\">Espectros en fuga.<\/em> Ollin Yoliztli Cultural Center, Mexico City<br data-start=\"1834\" data-end=\"1837\" \/><em data-start=\"1837\" data-end=\"1875\">En tiempos del progreso insecticida.<\/em> Galer\u00eda Espacio\u202f1900, Puebla<\/p>\n<p data-start=\"1908\" data-end=\"4509\"><strong>GROUP EXHIBITIONS<\/strong><br data-start=\"1913\" data-end=\"1916\" \/>2008 <em data-start=\"1921\" data-end=\"1996\">Espejos Zegache: A contemporary artistic intervention on the 18th century<\/em>, Museo de Arte Contempor\u00e1neo de Oaxaca; Centro de Cultura Casa Lamm, Mexico City<br data-start=\"2077\" data-end=\"2080\" \/>2005 <em data-start=\"2085\" data-end=\"2099\">Metamorfosis<\/em>, Museo de Arte Contempor\u00e1neo de Oaxaca; Le Manoir de la Ville de Martigny, Switzerland<br data-start=\"2186\" data-end=\"2189\" \/><em data-start=\"2189\" data-end=\"2200\">Cowparade<\/em>, public squares in Mexico City, Monterrey, and Tijuana<br data-start=\"2255\" data-end=\"2258\" \/>2004 <em data-start=\"2263\" data-end=\"2311\" data-is-only-node=\"\">Anthological Exhibition of Mexican Printmaking<\/em>, Puerto Rico Biennial; <em data-start=\"2335\" data-end=\"2367\">Estrategias: Grafik aus Mexiko<\/em>, Munich, Germany<br data-start=\"2384\" data-end=\"2387\" \/>2003 <em data-start=\"2392\" data-end=\"2409\">Pintar palabras<\/em>, Instituto Cervantes (Berlin and New York), curated by Pablo Rico Lacasa; <em data-start=\"2484\" data-end=\"2495\">Miart2003<\/em>, Milan Art Fair<br data-start=\"2511\" data-end=\"2514\" \/>2002 <em data-start=\"2519\" data-end=\"2535\">Gr\u00e1fica actual<\/em>, Fine Arts Building Gallery, Edmonton, Alberta; <em data-start=\"2584\" data-end=\"2621\">Todas las l\u00edneas rectas del c\u00edrculo<\/em>, traveling exhibition including Museo Palacio del Arzobispado, Mexico City<br data-start=\"2696\" data-end=\"2699\" \/>2001 <em data-start=\"2704\" data-end=\"2733\">Art contemporain du Mexique<\/em>, Martigny and Geneva, Switzerland; <em data-start=\"2769\" data-end=\"2805\">26\u201336 Contemporary Young Proposals<\/em>, SHCP Museum, Mexico City; <em data-start=\"2833\" data-end=\"2847\">Verano pleno<\/em>, Galer\u00eda de Arte Mexicano, Mexico City; <em data-start=\"2888\" data-end=\"2916\">Paquidermos y cronograf\u00edas<\/em>, Galer\u00eda Lourdes Sosa, Mexico City; <em data-start=\"2953\" data-end=\"2969\">Gr\u00e1fica actual<\/em>, Instituto de Artes Gr\u00e1ficas de Oaxaca<br data-start=\"3008\" data-end=\"3011\" \/>2000 <em data-start=\"3016\" data-end=\"3042\">X Rufino Tamayo Biennial<\/em>, Rufino Tamayo Museum (Mexico City) and Museo de Arte Contempor\u00e1neo de Oaxaca<br data-start=\"3120\" data-end=\"3123\" \/>1999 <em data-start=\"3128\" data-end=\"3183\">2nd Universidad Iberoamericana Biennial: \u201cLo barroco\u201d<\/em>, Puebla; <em data-start=\"3193\" data-end=\"3219\">1st Omnilife Grand Prize<\/em>, Guadalajara; <em data-start=\"3234\" data-end=\"3281\">2nd Alfredo Zalce Painting and Print Biennial<\/em>, Morelia; <em data-start=\"3292\" data-end=\"3310\">La joven Estampa<\/em>, Havana<br data-start=\"3318\" data-end=\"3321\" \/>1998 Inaugural exhibition, Casa Col\u00f3n Gallery, Miami; <em data-start=\"3375\" data-end=\"3402\">IX Rufino Tamayo Biennial<\/em>, Oaxaca and Mexico City<br data-start=\"3426\" data-end=\"3429\" \/>1997 Inaugural exhibition, Entre Estudio y Galer\u00eda, Puebla<br data-start=\"3487\" data-end=\"3490\" \/>1996 <em data-start=\"3495\" data-end=\"3529\">XVI National Young Art Encounter<\/em>, Museo Carrillo Gil (Mexico City and Monterrey); <em data-start=\"3579\" data-end=\"3591\">La memoria<\/em>, Galer\u00eda Juan Mart\u00edn, Mexico City; <em data-start=\"3627\" data-end=\"3656\">VIII Rufino Tamayo Biennial<\/em>, Oaxaca and Mexico City; <em data-start=\"3682\" data-end=\"3713\">1st Salvador Zubir\u00e1n Biennial<\/em>, National Institute of Nutrition, Mexico City<br data-start=\"3759\" data-end=\"3762\" \/>1995 <em data-start=\"3767\" data-end=\"3802\">100 Artists Against AIDS Festival<\/em>, Jos\u00e9 Luis Cuevas Museum, Mexico City<br data-start=\"3840\" data-end=\"3843\" \/>1994 <em data-start=\"3848\" data-end=\"3882\">XIV National Young Art Encounter<\/em>, Museo Carrillo Gil (Mexico City and Monterrey); <em data-start=\"3932\" data-end=\"3971\">2nd INDART Painting on Fabric Contest<\/em>, Mexico City<br data-start=\"3984\" data-end=\"3987\" \/>1993 <em data-start=\"3992\" data-end=\"4027\">XIII National Young Art Encounter<\/em>, Museo Carrillo Gil; <em data-start=\"4049\" data-end=\"4070\">Painting Collective<\/em>, Casa de Cultura M\u00e9xico-Jap\u00f3n; <em data-start=\"4102\" data-end=\"4136\">Germ\u00e1n Gedovius Painting Contest<\/em> in San Luis Potos\u00ed; <em data-start=\"4157\" data-end=\"4192\">2nd Jos\u00e9 Clemente Orozco Biennial<\/em>, Guadalajara<br data-start=\"4205\" data-end=\"4208\" \/>1991 <em data-start=\"4213\" data-end=\"4225\">Par\u00e1frasis<\/em>, ENAP, UNAM, Mexico City<br data-start=\"4250\" data-end=\"4253\" \/>1990 <em data-start=\"4258\" data-end=\"4286\">2nd University Art Contest<\/em>, UNAM Architecture Faculty, Mexico City; <em data-start=\"4328\" data-end=\"4339\">Un taller<\/em>, Ollin Yoliztli Cultural Center, Mexico City<br data-start=\"4384\" data-end=\"4387\" \/>1989 <em data-start=\"4392\" data-end=\"4411\">Arenas del tiempo<\/em>, Old Academy of San Carlos, Mexico City<br data-start=\"4451\" data-end=\"4454\" \/>1987 <em data-start=\"4459\" data-end=\"4482\">Las huellas del metal<\/em>, Casa de Cultura, Puebla<\/p>\n<p data-start=\"4511\" data-end=\"5285\"><strong>DISTINCTIONS<\/strong><br data-start=\"4523\" data-end=\"4526\" \/>2006 Became a member of the National System of Art Creators (CONACULTA); invited by Museo Erasto Cort\u00e9s (Puebla) to produce an etching portfolio<br data-start=\"4670\" data-end=\"4673\" \/>2000 FONCA Cultural Projects and Coinvestments grant for the catalog <em data-start=\"4742\" data-end=\"4779\">Todas las l\u00edneas rectas del c\u00edrculo<\/em><br data-start=\"4779\" data-end=\"4782\" \/>1999 Honorable Mention, II Alfredo Zalce Biennial<br data-start=\"4831\" data-end=\"4834\" \/>1998 Honorable Mention, IX Rufino Tamayo Biennial<br data-start=\"4883\" data-end=\"4886\" \/>1997\u201398 FONCA Young Creators Program fellow<br data-start=\"4929\" data-end=\"4932\" \/>1994 Honorable Mention, XIV National Young Art Encounter; Acquisition Prize, 2nd INDART Painting on Fabric Contest<br data-start=\"5046\" data-end=\"5049\" \/>1993\u201394 FONCA Young Creators Program fellow<br data-start=\"5092\" data-end=\"5095\" \/>1990 First Prize and Honorable Mention, <em data-start=\"5135\" data-end=\"5153\">Punto de Partida<\/em> magazine competition; Acquisition Prize, 2nd UNAM University Art Contest<br data-start=\"5226\" data-end=\"5229\" \/>1989 Honorable Mention, <em data-start=\"5253\" data-end=\"5271\">Punto de Partida<\/em> competition<\/p>\n<p data-start=\"5287\" data-end=\"5376\"><strong>COLLECTIONS<\/strong><br data-start=\"5298\" data-end=\"5301\" \/><strong>Private collections:<\/strong>&nbsp;in Brazil, Colombia, Switzerland, Mexico, and the USA<\/p>\n<p data-start=\"5378\" data-end=\"5818\"><strong>OTHER ACTIVITIES<\/strong><br data-start=\"5394\" data-end=\"5397\" \/>2007 Member of the Technical Commission for the CONACULTA\u2011Puebla Stimulus Program for Artistic Creation and Development<br data-start=\"5516\" data-end=\"5519\" \/>2003 Jury member for selection and awards at the National Young Art Encounter (Instituto de Cultura de Aguascalientes, INBA, CONACULTA) alongside Paul Nevin and Dilan von Gunten; Jury member for the Third Visual Arts Encounter of Puebla (Secretar\u00eda de Cultura, with Ignacio Salazar and Eri C\u00e1mara)<\/p>\n<p data-start=\"80\" data-end=\"96\"><strong data-start=\"80\" data-end=\"96\">BIBLIOGRAPHY<\/strong><\/p>\n<p data-start=\"98\" data-end=\"1939\">Teresa del Conde: <em data-start=\"116\" data-end=\"147\">Casa mayor: Pictorial Project<\/em>. La Jornada. September 27, 2005<br data-start=\"179\" data-end=\"182\" \/>Laura Pomerantz: <em data-start=\"199\" data-end=\"215\">Erratic Memory<\/em>. Arte al D\u00eda: News Mex, Year 2, No. 16, October 2004<br data-start=\"268\" data-end=\"271\" \/>Fernando G\u00e1lvez de Aguinaga: <em data-start=\"300\" data-end=\"329\">Territories \/ Interventions<\/em>. La Jornada. January 10, 2003<br data-start=\"359\" data-end=\"362\" \/>Blanca Gonz\u00e1lez Rosas: <em data-start=\"385\" data-end=\"414\">Territories \/ Interventions<\/em>. Proceso Magazine, No. 1363. December 15, 2002<br data-start=\"461\" data-end=\"464\" \/>V\u00edctor Palacios: <em data-start=\"481\" data-end=\"527\">Mauricio Cervantes, painting as intervention<\/em>. Artes de M\u00e9xico Magazine, No. 58. December 2001<br data-start=\"576\" data-end=\"579\" \/>Francisco Castro Le\u00f1ero: <em data-start=\"604\" data-end=\"624\">The Voices of Time<\/em>. Milenio Daily. March 24, 2001<br data-start=\"655\" data-end=\"658\" \/>Fernando G\u00e1lvez de Aguinaga: <em data-start=\"687\" data-end=\"722\">Visual Fragments of an End of Era<\/em>. Newsletter of the Museum of Contemporary Art of Oaxaca. August \u2013 September 1998<br data-start=\"803\" data-end=\"806\" \/>Berenice Gonz\u00e1lez: <em data-start=\"825\" data-end=\"873\">Mauricio Cervantes and his Pictorial Talismans<\/em>. Harper\u2019s Bazaar. August 1998<br data-start=\"903\" data-end=\"906\" \/>Miguel \u00c1ngel Mu\u00f1oz: <em data-start=\"926\" data-end=\"974\">Mauricio Cervantes: The Code of the Intangible<\/em>. \u00c9poca. May 1998<br data-start=\"991\" data-end=\"994\" \/>Fernando G\u00e1lvez de Aguinaga: <em data-start=\"1023\" data-end=\"1041\">Thinking in Time<\/em>. Laberinto. March 1998<br data-start=\"1064\" data-end=\"1067\" \/>Marisa Le\u00f3n Portilla: <em data-start=\"1089\" data-end=\"1122\">On the Edge of Human Experience<\/em>. Mexico City Times. July 1997<br data-start=\"1152\" data-end=\"1155\" \/>Carlos Blas Galindo: <em data-start=\"1176\" data-end=\"1190\">Liminal Zone<\/em>. El Financiero. July 1997<br data-start=\"1216\" data-end=\"1219\" \/>V\u00edctor Sosa: <em data-start=\"1232\" data-end=\"1269\">The Languid D\u00e9j\u00e0-vu of the Nineties<\/em>. La Jornada. October 6, 1996<br data-start=\"1298\" data-end=\"1301\" \/>Raquel Tibol: <em data-start=\"1315\" data-end=\"1337\">VIII Tamayo Biennial<\/em>. Proceso. September 1996<br data-start=\"1362\" data-end=\"1365\" \/>Gonzalo V\u00e9lez: <em data-start=\"1380\" data-end=\"1416\">The Artists Speak. 60 from the 60s<\/em>. Uno M\u00e1s Uno. December 2, 1995 and June 15, 1996<br data-start=\"1465\" data-end=\"1468\" \/>Marcela Garc\u00eda Machuca: <em data-start=\"1492\" data-end=\"1505\">Take a Look<\/em>. El Norte. August 11, 1995<br data-start=\"1532\" data-end=\"1535\" \/>Gonzalo V\u00e9lez: <em data-start=\"1550\" data-end=\"1595\">Creation in Motion: 1993\u20131994 FONCA Fellows<\/em>. Uno M\u00e1s Uno. March 17, 1995<br data-start=\"1624\" data-end=\"1627\" \/>Teresa del Conde: <em data-start=\"1645\" data-end=\"1672\">Young or Not So Young Art<\/em>. La Jornada. January 21, 1995<br data-start=\"1702\" data-end=\"1705\" \/>Dora Luz Haw: <em data-start=\"1719\" data-end=\"1758\">He Extracts Images from Mayan Culture<\/em>. Reforma. November 17, 1994<br data-start=\"1786\" data-end=\"1789\" \/>Gonzalo V\u00e9lez: <em data-start=\"1804\" data-end=\"1848\">Cervantes at the San \u00c1ngel Cultural Center<\/em>. Uno M\u00e1s Uno. November 1994<br data-start=\"1876\" data-end=\"1879\" \/>Teresa del Conde: <em data-start=\"1897\" data-end=\"1909\">A Workshop<\/em>. La Jornada. September 1990<\/p>\n<p data-start=\"1946\" data-end=\"1971\"><strong data-start=\"1946\" data-end=\"1971\">EXHIBITION CATALOGUES<\/strong><\/p>\n<p data-start=\"1973\" data-end=\"3515\"><em data-start=\"1973\" data-end=\"2010\">Embarcaciones Corrientes Detectores<\/em>, Mauricio Cervantes, 2006, Punta Cometa Publishing<br data-start=\"2061\" data-end=\"2064\" \/>Fernando G\u00e1lvez de Aguinaga: <em data-start=\"2093\" data-end=\"2131\">All the Straight Lines of the Circle<\/em>. FONCA, Mexico, 2002<br data-start=\"2152\" data-end=\"2155\" \/>Fernando G\u00e1lvez de Aguinaga: <em data-start=\"2184\" data-end=\"2226\">Fin-de-Si\u00e8cle Approach to Graphic Beings<\/em>. Gr\u00e1fica Actual. Universidad Aut\u00f3noma Metropolitana, Mexico, 2000<br data-start=\"2292\" data-end=\"2295\" \/>Jaime Moreno Villarreal: <em data-start=\"2320\" data-end=\"2334\">The Bullseye<\/em>. XVI. Mexico, 2000<br data-start=\"2353\" data-end=\"2356\" \/>Efra\u00edn Bartolom\u00e9: <em data-start=\"2374\" data-end=\"2417\">In Front of the Hall of the Red Tlaloques<\/em>. XVI. Mexico, 2000<br data-start=\"2436\" data-end=\"2439\" \/>Carlos Aranda M\u00e1rquez: <em data-start=\"2462\" data-end=\"2518\">Mauricio Cervantes: Before Painting and After the Myth<\/em>. XVI. Mexico, 2000<br data-start=\"2537\" data-end=\"2540\" \/>Juan B. Artigas: <em data-start=\"2557\" data-end=\"2577\">Cervantes, Painter<\/em>. XVI. Mexico, 2000<br data-start=\"2596\" data-end=\"2599\" \/>Alejandro Ortiz Gonz\u00e1lez: <em data-start=\"2625\" data-end=\"2647\">Oscillation of Signs<\/em>. Mexico, 1998<br data-start=\"2661\" data-end=\"2664\" \/>Jaime Moreno Villarreal: <em data-start=\"2689\" data-end=\"2718\">Liminal Zone: In Suspension<\/em>. Mexico, 1997<br data-start=\"2732\" data-end=\"2735\" \/>Paola Garc\u00eda Souza: <em data-start=\"2755\" data-end=\"2769\">Liminal Zone<\/em>. Mexico, 1997<br data-start=\"2783\" data-end=\"2786\" \/>Raquel Tibol: <em data-start=\"2800\" data-end=\"2822\">VIII Tamayo Biennial<\/em>. Mexico City, 1997<br data-start=\"2841\" data-end=\"2844\" \/>Naief Yehya: <em data-start=\"2857\" data-end=\"2905\">The Two Discourses in Mauricio Cervantes\u2019 Work<\/em>. <em data-start=\"2907\" data-end=\"2935\">The Code of the Intangible<\/em>, Mexico, 1991<br data-start=\"2949\" data-end=\"2952\" \/>Manuel Mar\u00edn: <em data-start=\"2966\" data-end=\"2988\">Painting: Collective<\/em>. Mexico, 1992<br data-start=\"3002\" data-end=\"3005\" \/>Juan Acha: <em data-start=\"3016\" data-end=\"3052\">Paraphrasing in Pictorial Learning<\/em>. <em data-start=\"3054\" data-end=\"3066\">Par\u00e1frasis<\/em>, Mexico, 1991<br data-start=\"3080\" data-end=\"3083\" \/>Ulises Garc\u00eda: <em data-start=\"3098\" data-end=\"3122\">On Agreed Desecrations<\/em>. <em data-start=\"3124\" data-end=\"3136\">Par\u00e1frasis<\/em>, Mexico, 1991<br data-start=\"3150\" data-end=\"3153\" \/>Arnold Belkin: <em data-start=\"3168\" data-end=\"3203\">In Times of Insecticidal Progress<\/em>. Puebla, Mexico, 1991<br data-start=\"3225\" data-end=\"3228\" \/>Efra\u00edn Bartolom\u00e9: <em data-start=\"3246\" data-end=\"3255\">Insects<\/em>. <em data-start=\"3257\" data-end=\"3275\">Fleeing Specters<\/em>, Mexico, 1990 (also appears in <em data-start=\"3307\" data-end=\"3339\">Cantos para la joven concubina<\/em>, Cuarto Creciente Publishing, pg. 52, 1991)<br data-start=\"3383\" data-end=\"3386\" \/>Ignacio Salazar: <em data-start=\"3403\" data-end=\"3412\">Insects<\/em>. <em data-start=\"3414\" data-end=\"3432\">Fleeing Specters<\/em>, Mexico, 1990<br data-start=\"3446\" data-end=\"3449\" \/>Ignacio Salazar and Jos\u00e9 de Santiago: <em data-start=\"3487\" data-end=\"3499\">A Workshop<\/em>, Mexico, 1990<\/p>\n<p data-start=\"5913\" data-end=\"6127\" data-is-last-node=\"\" data-is-only-node=\"\"><strong>TEACHING ACTIVITY<\/strong><br data-start=\"5930\" data-end=\"5933\" \/>2006 Drawing workshop, CaSa (Centro de las Artes de San Agust\u00edn), Oaxaca<br data-start=\"6005\" data-end=\"6008\" \/>1990\u201391 Drawing instructor at ENAP, UNAM<br data-start=\"6048\" data-end=\"6051\" \/>1989\u201390 Assistant in Jos\u00e9 Gonz\u00e1lez Casanova\u2019s drawing workshop at ENAP, UNAM.<\/p>\n<div class=\"spdiv\">[collapse]<\/div>\n<\/div>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>&lt;&lt; Previous | Artists | Next &gt;&gt; CHAPULTEPEC, Impresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja de metal, 48.2 cm \u00d8ROBERT MORRIS, Impresi\u00f3n con inyecci\u00f3n de tinta sobre papel de algod\u00f3n con aplicaciones de hoja &hellip; <a class=\"kt-excerpt-readmore\" href=\"https:\/\/nmcontemporaneo.com\/en\/catalogue\/paintings\/mauricio-cervantes-en\/\" aria-label=\"Mauricio Cervantes\">Read More<\/a><\/p>\n","protected":false},"author":25,"featured_media":0,"parent":590,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"kt_blocks_editor_width":"","footnotes":""},"class_list":["post-9169","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/pages\/9169","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/comments?post=9169"}],"version-history":[{"count":3,"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/pages\/9169\/revisions"}],"predecessor-version":[{"id":14285,"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/pages\/9169\/revisions\/14285"}],"up":[{"embeddable":true,"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/pages\/590"}],"wp:attachment":[{"href":"https:\/\/nmcontemporaneo.com\/en\/wp-json\/wp\/v2\/media?parent=9169"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}