La ciencia avanza pero yo no, marks Lartigue’s first solo exhibition in Texas, bringing together selected works examining the role of performance, human bodily material, and multi-media installation. Most of Lartigue’s work attempts to explore and unfold different aspects on human language and what is considered “death time” of the body. This interest leads into “fluid-like” works of art involving many types of operations, including simple scientific technologies, aesthetics, and communication. The exhibition includes performative works and documents, for example, Raza sin Extinguir, a long durational piece consisting collections of DIY DNA extraction of residents of the East End, installations of hybrid “laboratory altars,” and distribution of “elementary” scientific method worksheets translated in various languages (also available as printable PDFs online). The show also features Self-portraits as I were Muertx, a series of ongoing digital self-portraits dedicated to the disintegration of the body as it ages through time, where the artist’s body appears twice, one “dead” and the other paying “respects” to its carbon vessel. The exhibition revolves around the theme of durational time, as the works build seamlessly on how long can their “meaning” last.
Angel Lartigue has shown in local art venues including Alabama Song, Houston Community College Fine Art Gallery, Blaffer Art Museum, Rudolph Blume Fine Art Gallery and BOX 13 ArtSpace. Art publications include Glasstire and The Aletheia Journal. Lartigue has performed in experimental dance & art event, “Trust Me Daddy.” Lartigue has also shown in Los Angeles California in collaboration with artist, Lambe Culo.
Lartigue was born and raised in Houston, Texas to Mexican parents and attended Houston public school before dedicating their time to making works of Art. Currently an artist-in-residence at BOX 13 ArtSpace.