Mexican artist Arturo Hernández Alcázar examines the sediments of a collapsing economy, seeking to activate micro-processes of erosion and affection in critical contexts where the encounter of certain negative forces provokes a series of autonomous forms and organization of space.
Hernández Alcázar conceives this book Escombro as a sculpture made of fragments, destructions, erosions, residues, cutting, detritus, noise, and fragments. Surveys similar to compendiums of the remains of processes in which, through quotations, narratives, images, designs, noises, and mutations, he traces a subjective, dilettantish inventory of the slow decline of the solid and the permanent, unveiling other unexpected potencies.
The book documents his work through images, along with texts authored by Guillermo Santamarina, Cécile Bourne-Farrell, Jean Cartier-Bresson, and the artist himself. It is published in a trilingual edition (Spanish/English/French) of five hundred copies, of which ten are artist’s proofs and forty more are numbered copies, signed by the artist and accompanied by a copper disc.