Diego Berruecos
WORK
Diego Berruecos’s work is almost always related to the historic anecdote, linked to his personal experience. He has mainly focused on the research and reflection of the political in Mexico, through unpublished and archive photographic images. Through his work, he shows the visualization of myths, supposed acts of power abuse, cases of nepotism and short stories that refer to historical problems that are still happening in the country. His main body of work consists of the series PRI: genealogy of a party [PRI: genealogía de un partido], in which he’sworking since 2008 with the objective of using photography to ponder upon the 71 years that the PRI (Institutional Revolutionary Party) stayed in power.
BIO
BORN IN 1979 IN MEXICO CITY, MEXICO
LIVES AND WORKS IN MEXICO CITY
He studied at the Active School of Photography and made a BA in the London College of Printing, in London. He has participated in collective exhibitions such as Readings on a fractured territory [Lecturas de un territorio fracturado] at the Amparo Museum, Puebla (2017); Monuments, Anti-Monuments and New Public Sculpture [Monumentos, Anti-Monumentos y Nueva Escultura Pública] at Zapopan Museum of Art (2017); The XII Photography Biennial at the Centro de la Imagen (2016 and 2006); Celemania in FRAC du Pays De La Loire (2014-15); Resisting the Present ( Amparo Museum/ARC/MAM- VP), in Paris (2012);Spectrographies: paradoxes of history [Espectografías: paradojas de la historia], at the MUAC, Mexico City (2010); and Shattered Glass in The Americas Society, New York (2010).
His most recent solo exhibition was Obstinate Contemplation of the Work of Tomorrow [Obstinada Con- templación del Trabajo del Mañana] in 2018-19 at Machete Galería, Mexico City. He also participated in 2017 in Sample, a space curated by Humberto Moro within Zona Maco 2017.
His individual exhibitions also include Floating Stones [Piedras Flotantes] at Machete Galería, Mexico City (2016); 1440 Minutes [1440 Minutos], Centro de la Imagen, Mexico City (2015); Political Use of the Solar Phenomenon [El uso político del fenómeno solar] (2013) and PRI : the genealogy of a political party [PRI: genealogía de un partido] (2009), both at Galería GAGA, Mexico City and Ebb, at Proyectos Monclova, Mexico City (2006).
In 2016 he won the Centro de la Imagen XVII Photography Biennial with his series 26 Used to be Gaso- line Stations, in Mexico City.