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Mauricio Limón [Videonale.14]

*1979 in Mexico City, MEX, lives and works in Mexico City MEX
Studied at Universidad Nacional Autonoma de Mexico MEX


Exhibitions [selection]:

2012 Con todo el respect que usted se merece! -With all the respect that you deserve, Oaxaca Painter´s    
         Museum, MEX
2011 Disponible: A Kind of Mexican Show, Museum of Fine Arts, Boston USA
         An Exchange with Sol LeWitt, Massachusetts Museum of Contemporary Art, North Adams, USA Versus–      
        buscando la sombra del árbol, Projex-Mtl. Montreal CAN
2010 Fetiches Críticos, Lunes negro, in collaboration with Xavier Rodríguez, CA2M Centro de Arte Dos de
         Mayo, Madrid ESP
2009 Hecho en Casa, Museum of Modern Art, Mexico City MEX




Mauricio Limón x

El primero que ría, 2012, 12:17 min., sound, colour [VIDEONALE.14]

“El primero que ría” is a two-channel video which presents two business suited men with physical traits identifiable as those of the indigenous peoples of Mexico. Identical settings appear in both videos: a deserted landscape of shrubs and rocks. In one of the videos, a long shot of the pair provides a sense of space, while in the other the camera rotates slowly and constantly around the characters. The men play a variation of a French children’s game: “Le jeu de la barbichette”. Both players hold each other by the chin and recite a text which translates to: “I have you, / you have me / by the chin / The first one of us / to laugh / will get a slap.” While in the original version of the game the loser is slapped, in this setting he takes off a piece of clothing. The winner then holds him by the head and bends him over mimicking a fellatio. Nothing is playful about this game. Two men are trapped in an absurd loop, during which each of them plays his role with apathy and bears the consequences with resignation. They execute their actions in a severe mood, making the laughter sound artificial and forced. The process of undressing progressively exposes them to the desolate surroundings, making them appear defenseless, but also revealing them in their own physical nature. During this process, previously hidden marks on the bodies of these men are uncovered: tattoos and scars carve their skins strikingly. All these elements add up to a harsh denunciation of the present state of Mexican society. In the end, both men face each other completely naked and maintaining the initial position: holding each other by the chin.

Federico Alvarez Igarzábal

Mauricio Limón