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Luis Camnitzer

Recent Work


Timelanguage, 2016, Xerox toner on laid paper in 14 parts

Timelanguage, 2016

Xerox toner on laid paper in 14 parts

12.25h x 18.75w in (31.11h x 47.63w cm) each
Edition of 12 + 1 AP

Insults, 2009/, Vinyl installation

Insults, 2009/

Vinyl installation

Dimensions variable

Dibujos en el Agua, 2012/2016, Bowl, 44 glass bottles and 5 printed texts

Dibujos en el Agua, 2012/2016

Bowl, 44 glass bottles and 5 printed texts

Dimensions variable

Seven Virtues, 2014, Pigment print in 7 parts

Seven Virtues, 2014

Pigment print in 7 parts

14h x 11w in (35.56h x 27.94w cm)

Edition of 5

Bereaved Bird Bit Bloody-faced Bohemian, 2017, Mixed media

Bereaved Bird Bit Bloody-faced Bohemian, 2017

Mixed media

Dimensions variable

Please look away, 2015, Adhesive vinyl

Please look away, 2015

Adhesive vinyl

Dimensions variable

Compass, 2003, Inkjet print

Compass, 2003

Inkjet print

30h x 24w in (76.20h x 60.96w cm)

Memorial, 2009, Pigment prints in 195 parts

Memorial, 2009

Pigment prints in 195 parts

11.75h x 9.50w in (29.85h x 24.13w cm)

Installation view, Alexander Gray Associates, 2010

The Office, 2000-2001, Mixed Media

The Office, 2000-2001

Mixed Media


Notes to Myself #5, 2008, Archival digital print on paper

Notes to Myself #5, 2008

Archival digital print on paper

10.75h x 42.25w in (27.31h x 107.32w cm)

Documenta Projekt, 2002, Mixed Media

Documenta Projekt, 2002

Mixed Media


In recent works, Luis Camnitzer has refined his interest in the associative potential of text and image. Continuing the trajectory he established in the 1980s with works like the Uruguayan Torture Series (1983—1984) and his installation at the Venice Biennale, many of these pieces reflect on political events and violence. For example, for Documenta 11 in 2002, he expanded on previous installations, constructing an evocative space that communicated, in his words, “the ambiguity of prison.” Speaking about the work, he stated, “On the one hand, I refer to the physical prison, especially that of the political prisoner who dreams in order to escape and fails. On the other hand, it is an allusion to the imprisonment of the artist who wants to break out of conventions, stereotypes, cultural constraints, who tries to be original, to break the rules.” 

Similarly, in Last Words (2008) Camnitzer prints death row prisoners’ final statements, and in Memorial (2009) he creates a version of the Montevideo phonebook that includes the names of the still missing individuals who disappeared during the Uruguayan Dictatorship. Building on these works, the installation Please Look Away (2015) consists of overlapping sentences written by the artist that incorporate terms from an article about the torture of Abu Ghraib prisoners during the Iraq War. Allowing these texts to run up and down the floors and walls, Camnitzer constructs a cage-like, visually cacophonous space that traps viewers.

Other works from this decade recontextualize familiar tools and objects. For example, Compass (2003) alludes to the history of colonialism, while Notes to Myself (2008) challenges conventions of note-taking by distorting lined paper. Continuing this graphic play, Timelanguage (2016) reflects Camnitzer’s longstanding commitment to expanding the possibilities of printmaking by using visual markers of accumulation and addition to signify both the passage of time and information. Ultimately, as Camnitzer states, “I see the ideal lasting work of art (one I’ve never made) as the best and most elegant—in terms of its economy—solution to an interesting problem, to the point that it establishes a new paradigm or causes a paradigm shift. … I don’t believe in absolute and eternal values. I believe in this interpretative dialogue that keeps changing over time.”