Fritzia Irízar - Without title. Series of drawings of in danger of extinction
Biografía del Artista: Fritzia Irizar Culiacan, Mexico, 1977 Fritzia Irizar questions the value of money and its purchasing power through objects taken from her “natural habitat” that takes on symbolic qualities, thus eliminating their monetary value, transforming the viewer's perception of them. His work refers directly to modes of circulation of capital on a small scale, and to consumption of the work of art, to how economic structures determine individuals, and how In this way, certain subjectivities are configured. Several of his projects have incorporated diamonds and salt, similar in appearance and both used as currencies in different historical periods. The notion of the values of such materials is subject to belief and fantasy, a complexity always present in his pieces. Fritzia's work recognizes that history and science are almost fictions, built in small layers of knowledge, and therefore subject to the decisions of a few individuals. Even so, They are fictions that we cling to, as acts of faith, of belonging or of desire for certainty. Deprived of their usual context, the currencies that Fritiza Irizar uses in her work assume symbolic qualities that speak of the construction of desire and value. --- Fritzia Irizar He has exhibited in various international institutions such as MUAC, Museo Ex Teresa Contemporary Art, Sala Siqueiros and Rufino Tamayo Museum all in Mexico City, Orange County Museum of Art in Santa Ana, CA2M (2 de Mayo Art Center) in Madrid, Headlands Center for the Arts in San Francisco, CIFO Fontanals Foundation Cisneros in Miami, Giorgio Cini Foundation in Venice, Seattle Art Museum in Seattle, Banco Santander Foundation in Madrid, Beirut Museum of Art (BeMA) in Beirut and the Rashid Karami International Fair in Tripoli. He has also participated in different biennials: the 9th and 10th Mercosur Biennials in Porto Alegre, the 12th FEMSA Biennial in Monterrey and the 14th Cuenca Biennial. His work can be found in collections such as JUMEX, Mexico; Isabel Collection and Agustín Coppel, Mexico; Servais Collection, Belgium; Visual Smell Collection, Spain; Braddock Collection, USA; Bachué Project, Colombia; CIFO Collection, USA; Fondazione Benetton, Italy; and CA2M, Spain.
Drawing made with ink from the ashes of burnt dollars, a reflection belonging to the exhibition “Chicxulub, studies in a landscape”, on the devastating pressure that the economy exerts on the landscapeThis artwork includes a certificate of authenticity. A certificate of authenticity is a document from an authoritative source that verifies the authenticating value of the artwork. The certificate may be signed by the author of the artwork, by the representative gallery, or by the engraver who collaborated with the artist on the artwork.
The information that a certificate of authenticity usually includes is: name of the artist, details of the work (title, date, support, dimensions) and an image of it.
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