Yeni Mao (b. 1971, CA) was born in Canada and studied at The School of The Art Institute of Chicago, subsequently trained in metal casting in California, and the architecture and fabrication industries in New York. His work has been exhibited in numerous solo and group exhibitions internationally, including Galerie Zidoun-Bossuyt in Luxembourg, Invisible-Exports in New York, and Arróniz Arte Contemporáneo in Mexico City. He has been awarded several residencies, including Casa Wabi, OAZO-AIR, Red Gate, and The Fountainhead. Mao’s work has been written about in The New York Times, Time Out New York, The Advocate, The Village Voice, and the Bangkok Post. Yeni Mao's practice centers on the distortion of archetypical narratives, through a range of mediums including sculpture, installation, photography, and video. The work uses a diverse artistic lexicon to explore the cyclical regeneration of history, often with specific trans-national, historic, or mythological references. He is especially interested in oppositions such as magic vs. modernism and authenticity vs. history. Yeni Mao lives and works in Mexico City and New York.



San Isidro’s Still, curated by Daniel Garza-Usabiaga & Paulina Ascencio, Anonymous Gallery, Mexico City, MX
Predicciones 2018, curated by Daniel Garza-Usabiaga, Nixon (Galeria de estrellas), Mexico City, MX
Rituales del caos, curated by Lupe Quesada, Casa Lu (Chimalistac), Mexico City, MX
contacto sangriento 8, curated by Marco Roundtree, Guadalajara 90210, Guadalajara, MX



Ripple and Shear, Casa Lu, Tlalpan Centro, Mexico City, MX

“It is good counsel, that when a spirit of fervour is kindled within thee, thou shouldest consider how it will be, when that light shall
leave thee.” – Thomas Á. Kempis, The Imitation of Christ from a chapter titled “Of concealing grace under the guard of humility”
It shall remain the genuine modus operandi for postcolonials to consider our real and theoretical positions and positionalities. We are befuddled, by centuries of imperialisms and white supremacies, to the point that we are reminded daily that what we are trying to recover has been lost for generations. It was like learning about an ancient Sanskrit writing that my siblings and parents and parents’ parents, possibly my parents’ parents’ parents, could not even recognize or try to recognize at all. Yet we still imagine being, accepting as a fact, descendants of giants who built earthly monuments based on the language of the nighttime sky. How do we attempt at cutting through palimpsestic documents and experiences? We invent forensic ways to return to healing powers of volcanic rock and precious metals which we know from use that they are practical, especially if they are practically bodily extensions for survival. We expose tools for their weaponry. While exploring the etymological history of European words, we teach ourselves about the root of aplomb, then wholeheartedly connect the action and state of standing upright to lead.
Edwin Ramoran
Independent curator
Los Angeles 2017




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