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The Day I Saw You: Portraits from the AMMA Foundation Collection (2022): Leonora Carrington Museum, San Luis Potosí

Past Exhibitions exhibition
8 December 2022 - 19 February 2023
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008
Open a larger version of the following image in a popup: Eliezer Sonnenschein, I am nothing, 2008

Eliezer Sonnenschein Haifa, Israel, b. 1967

I am nothing, 2008
Oil on panel / Óleo sobre tabla
108.5 x 82.6 cm
42 3/4 x 32 1/2 in
© 2008 Eliezer Sonnenschein / Cortesía Fundación AMMA
Photo: Alejandro Paez

Further images

  • (View a larger image of thumbnail 1 ) Michael Van Ofen, Toqueville (Head), 2008
  • (View a larger image of thumbnail 2 ) Michael Van Ofen, Toqueville (Head), 2008
  • (View a larger image of thumbnail 3 ) Michael Van Ofen, Toqueville (Head), 2008
  • (View a larger image of thumbnail 4 ) Michael Van Ofen, Toqueville (Head), 2008
  • (View a larger image of thumbnail 5 ) Michael Van Ofen, Toqueville (Head), 2008
  • (View a larger image of thumbnail 6 ) Michael Van Ofen, Toqueville (Head), 2008
  • (View a larger image of thumbnail 7 ) Michael Van Ofen, Toqueville (Head), 2008
View on a wall
La obra de Eliezer Sonnenschein retrata el busto de un hombre con rostro pálido y con el cerebro visible sobre una base, quien aparece diciendo "i am", dentro del cerebro se observa la palabra "nothing". En su trabajo, que va desde pintura y escultura, hasta instalaciones y montaje fotográfico digital, Sonnenschein hace una crítica política a las normas sociales del Israel contemporáneo, así como a la cultura digital. Sus pinturas incluyen escenas apocalípticas, armas y personajes robóticos; el artista toma referencias de los medios virtuales, juegos de video e imágenes de redes sociales, para yuxtaponerlas en diferentes realidades y tiempos.
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