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emiliano mondragón | portraits of digital burnout
What does the lethal exoskeleton of a cinematic predator have in common with the stiff, slightly uncomfortable posture of a local politician? For Mexican painter Emiliano Mondragón, the intersection of the monstrous and the mundane is where the most honest version of the human condition resides. As the Hamburg-based artist prepares for the Annual Exhibition of the HFBK, running from 12 February to 15 February, he is readying a collection of new works that serve as a visceral reflection on our hyper-connected, often exhausting existence.
Emiliano Mondragón’s Figuration under Constraint
The End of the World does not appear as a spectacle, prophecy, or narrative climax in Emiliano Mondragón’s paintings. Instead, it is treated as an already assumed condition: the point at which the human figure can no longer be understood as a cohesive, self contained entity. Neither catastrophe nor future collapse are depicted. Mondragón begins from a quieter and more unsettling premise, that the end is not an event to be represented but a structural shift already embedded in everyday life.
Fragile Uncertainties
This year's exhibition by Master's students, which takes place in parallel to the Annual Exhibition 2025 at ICAT, brings together selected works that touch upon fragile states and uncertainties from a range of perspectives.
El animal que encierra el profeta
Narrativa Escrito por Emiliano Mondragón. Casapaís es nuestra revista trimestral. Publicamos la mejor narrativa, pensamiento y poesía en lengua española, cuatro veces al año, de la mano de autores establecidos y nuevos. ¿En busca de buenas lecturas? Aquí estamos. Entra y lee.
