Francis Alÿs

Francis Alÿs (born August 22, 1959, Antwerp, Belgium) is a Belgian-born Mexico-based conceptual artist who uses a variety of new and more-traditional media to evoke an often poetic sense of dislocation on social and political issues.

Alÿs was raised in Herfelingen in Belgium, where his father was an appeals court justice. Trained as an architect at the Institute of Architecture in Tournai, Belgium (1978–83), and at the Istituto Universitario di Architettura in Venice (1983–86), Alÿs first traveled to Mexico City in 1986 as part of a Belgian effort to assist in rebuilding projects following the catastrophic earthquakes of 1985. Over the next several years, Alÿs moved toward art making, relishing its freedom and flexibility, and decided to remain in Mexico. For personal and political reasons and to further distance himself from Belgium and his previous activities, he adopted the surname “Alÿs” at that time.

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Some of Alÿs’s early art projects derived from his continual exploration of Mexico City. The Collector (1990–92) is a video documentation of Alÿs walking through its streets pulling a small magnetized-metal toy dog on wheels that picked up metal effluvia from the streets until it was coated in shiny rubbish. Both an homage to the many roaming street dogs of Mexico City and an absurd cleansing project, the work exhibits the blue-collar kind of conceptualism that marked Alÿs’s work in the 1990s. (He revisited that project in 2006 with Collectors, an installation that included 36 toy dogs made of tin containers.) In Paradox of Praxis 1 (Sometimes Making Something Leads to Nothing) (1997), Alÿs pushed a large rectangular block of ice through the streets of Mexico City for the nine hours that the ice took to melt. The video of that project has a kind of quixotic absurdity that is very compelling, juggling as it does the earnestness of that cumbersome task, a recognition of the importance of ice for street vendors in a tropic clime such as Mexico, and Alÿs’s making of an absence in the end—all of which invited a range of poetic interpretations that can be both disorienting and liberating.

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Other projects questioned the fetish of artistic originality. In The Liar, The Copy of the Liar (1997), Alÿs made a small painting of a man with his hand in a shoe while seated at a table, took it to local Mexican sign painters, and had them execute multiple copies and variations of it. Alÿs’s original image was not without resemblance to the work of the Belgian Surrealist René Magritte, and connections between Alÿs and earlier Belgian artists, such as Magritte, René Delvaux, and Marcel Broodthaers could be made.

Another work from 1997, The Loop, reflected Alÿs’s response to the contentious issue of illegal immigration over the U.S.-Mexico border. In order to get from Tijuana, Mexico, to San Diego, California, he took 29 days to circumnavigate the world in the opposite direction, beginning in Tijuana and flying to South America, over to Australia, up through China and East Asia, and then to Alaska and south through Canada and the U.S., arriving in San Diego without crossing the U.S.-Mexico border.

By 2000 Alÿs had begun to attract international attention for those and other projects, and, while he cooperated with some aspects of the attendant fame and visibility, he resisted others. Invited to participate in the 2001 Venice Biennale, Alÿs sent a peacock in his stead, which strutted around the grounds of the exhibition there. His work, recognized in one-person exhibitions on several continents and in a traveling retrospective that opened at Tate Modern in London (“Francis Alÿs: A Story of Deception,” 2010), began to reflect a more-political edge. In The Green Line (Sometimes Doing Something Poetic Can Become Political and Sometimes Doing Something Political Can Become Poetic) (2004), Alÿs walked down the border that in 1948 officially separated the Palestinian and Israeli zones of Jerusalem (maintained until 1967) while holding a can of green paint with a small hole at its bottom, dribbling a line of paint behind him. The performance was documented in a video. Alÿs summarized his modus operandi in the following way:

What I’m interested in rarely comes through at first sight. Then, by the time I’ve understood what I’m looking for, I’m already on the way out of making the project.

Visits to Afghanistan and Iraq throughout the 2010s gave rise to a number of projects considering the experiences of war from those living amid it (REEL-UNREEL [2011]) and those fighting in it (Color Matching [2016]). In some of these wartime works, Alÿs offers an offbeat prompt to his subjects, as in Sandlines (2018–20), a feature film, in which Alÿs records a group of Iraqi children he has asked to reenact the history of their country. The artist also documented a number of games he witnessed during his travels and added them to his series Children’s Games, begun in 1999.

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