Allan Villavicencio

Allan Villavicencio 生於 1987 年墨西哥，現居住與工作於巴黎與墨西哥。其作品曾於塔馬約博物館、卡里略・希爾藝術博物館、瓦哈卡當代藝術博物館、薩波潘藝術博物館等重要機構展出，並被納入多項公共收藏。Villavicencio 曾於第 18 屆 Rufino Tamayo 繪畫雙年展（2018）與第 5 屆 José Atanasio Monroy 繪畫雙年展獲得榮譽提名，亦受邀參與多個機構駐村計畫。目前為墨西哥國家文化基金「國家創作者體系」（Sistema Nacional de Creadores）之研究員。

Allan Villavicencio 的創作橫跨繪畫、拼貼與立體結構等媒材，發展於感知理論、城市地景中的建築拓樸，以及身體與棲居於公共與私人空間之物件關係交會之處。他將這些元素轉化為具有延展性與情感密度的視覺語彙，形塑出所謂的「殘餘地景」（residual landscapes）——一種由材料、形式與肌理所構成的開放生態系統。在此架構下，碎片並非斷裂，而是生成整體的基礎單位；畫面中的裂縫、拼接與結構張力，共同組構出流動而未完成的空間秩序。藝術家將繪畫視為持續轉化的「新陳代謝」過程，試圖挑戰日常經驗，生成新的感知敘事脈絡。其創作隱含一項核心前提：在不斷展開的視角中尋找可見之物，同時質疑我們所處空間的「虛擬性」。當觀看者關注於環境時，那些隱藏於細縫、摺痕與邊界之間的視覺想像，成為重新理解空間與存在的契機。

Allan Villavicencio (b. 1987, Mexico) lives and works between Paris and Mexico. His work has been presented at major institutions including the Museo Tamayo, Museo de Arte Carrillo Gil, Museo de Arte Contemporáneo de Oaxaca, and Museo de Arte de Zapopan, and is held in several public collections. Villavicencio received honorable mentions at the 18th Rufino Tamayo Painting Biennial (2018) and the 5th José Atanasio Monroy Painting Biennial, and has participated in numerous institutional residency programs. He is currently a member of Mexico’s National System of Art Creators (Sistema Nacional de Creadores) under the Mexican National Fund for Culture.

Villavicencio’s practice spans painting, collage, and sculptural structures, unfolding at the intersection of perceptual theory, the architectural topologies of urban landscapes, and the relationships between the body and the objects that inhabit public and private space. He transforms these elements into an expansive and affectively charged visual language, articulating what he terms “residual landscapes”—open ecosystems constituted by material, form, and texture. Within this framework, fragments are not ruptures but generative units of a larger whole; fissures, seams, and structural tensions coalesce into fluid, unresolved spatial orders. Conceiving painting as a process of continuous “metabolism,” Villavicencio challenges the stability of everyday experience and constructs new perceptual narratives. Embedded in his practice is a central premise: to search for the visible within an ever-unfolding field of vision while questioning the “virtuality” of the spaces we inhabit. As viewers attend to the environment, the visual imaginaries concealed within cracks, folds, and thresholds become points of departure for rethinking space and existence.