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Latin America

Pablo Helguera
Museum directors union, [Artoons, 2008–2022 series]

Token Koala, [Artoons, 2008–2022 series]
At the very least there has to be a Guggenheim nearby, [Artoons, 2008–2022 series]
I find it so elitist, [Artoons, 2008–2022 series]
and this is the last time I come to the Guggenheim, [Artoons, 2008–2022 series]
And don’t forget to feed the artist in residence, [Artoons, 2008–2022 series]
artworld standup comedy, [Artoons, 2008–2022 series]
generous gallery, [Artoons, 2008–2022 series]
He Aquired my Work.., [Artoons, 2008–2022 series]
I am so worried about the pandemic, [Artoons, 2008–2022 series]
Meet your almost fans, [Artoons, 2008–2022 series]
Museum directors union, [Artoons, 2008–2022 series]
To be honest, I always wanted to be a totalitarian curator, [Artoons, 2008–2022 series]
Road to Hell, [Artoons, 2008–2022 series]
Vernissage Greeting Guide, [Artoons, 2008–2022 series]
my four day old AI, [Artoons, 2008–2022 series]
my four year old could have conceived this piece, [Artoons, 2008–2022 series]
Notions of cuteness, [Artoons, 2008–2022 series]
The art olympics, [Artoons, 2008–2022 series]
The painting is half a million, [Artoons, 2008–2022 series]
Why aren’t there any collector collectives [Artoons, 2008–2022 series]
Token Koala, [Artoons, 2008–2022 series]
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A sly sense of humor is key in Pablo Helguera’s long-running Artoons series, one that includes ~1500 drawings made over ten years. It’s no secret that the artworld tends to take itself too seriously, so it’s no surprise that Helguera’s project has developed a large following over the past decade—providing much needed comic relief. Helguera grew up making and exchanging drawings like these with his father and brother, but never made drawing a part of his public practice until in 2008, when he began periodically posting what came to be known as Artoons on Facebook. The series caricatures and lampoons agents and events in the artworld, combining just enough visual reference along with a caption. Always served with a dose of wit or irony, the series avoids contempt and sarcasm. While the drawings have appeared in numerous publications, including a monthly column in the Art Newspaper, a survey was exhibited earlier this year at the Juan March Foundation in Spain. While Helguera references legends like Saul Stienberg as influences, an artist who managed to make cartooning a serious practice used to address complex social and political issues, his work could also be compared to Ad Reinhardt’s practice of cartooning, which sometimes pointed its critical humor at the art world.

In addition to a long and diverse career as an artist, performer and writer of over a dozen books, Pablo Helguera has worked in the education departments of key institutions such as the Guggenheim Museum (1998-2005) and MoMA (2007-2020). That position has allowed him to become an "amateur anthropologist,” observing the artworld from the inside. Over the years he has witnessed the role of different actors (directors, dealers, curators, critics and collectors) and social environments (performances, openings, fairs, biennials). As an artists, Helguera has exhibited or performed at venues such as MoMA, Museo de Arte Reina Sofia, Madrid; ICA Boston; RCA London; 8th Havana Biennal, PERFORMA 05, Havana; Shedhalle, Zurich; MoMA P.S.1, New York; Brooklyn Museum; IFA Galerie, Bonn; Tokyo Metropolitan Art Museum, Tokyo; MALBA museum in Buenos Aires, Ex-Teresa Espacio Alternativo in Mexico City, The Bronx Museum, Artist Space, and Sculpture Center, among many others.

This artwork is licensed by KADIST for its programs, and is not part of the KADIST collection.


Biography
Pablo Helguera
Born 1971, Mexico
Lives in New York
Details
digital print