Sin título(Billonarios) | Untitled(Billionaires), 2022 is part of a series of all-weather banners and posters taking the form of agitprops for political speech. Luis Berríos-Negrón installed the first edition of the series at his Earthscore Specularium in Stockholm (2015). The series is loosely based on Christopher Wool’s painting Untitled, 1991 which was later adapted by Felix González-Torres (as a collaboration with Wool and the bookstore Printed Matter to be displayed at the Dia Foundation in New York in 1993).
Wool’s painting, ending with the words 'NO MORE HOME,' was inspired by the 1918 essay, “The Apocalypse of Our Time,” written by the philosopher Vasily Rozanov which was an allegorized interpretation of the upheaval of the Russian Revolution. Berríos-Negrón adapts this material into Untitled(Billionaires), itself a careful but flippant allegory of the present conditions of the increasing social and economic disparities in the context of global warming. As a contemporary artist from Puerto Rico, the core of Luis Berrios Negron’s art practice has been about perception and display with a core exploration of the history of the ‘greenhouse’ in all its metaphors as a vehicle to explore colonial memory in the context of climate justice.
The burning Biosphère, pavilion of the U.S. for the World’s Exposition (f.k.a. The Great Exhibition) Montreal 1967, designed by R. Buckminster Fuller and Shoji Sadao, erupting in flames on May 20,1976. Photo Source: Doug Lehman, Progressive Architecture, August 1976.
La Biosphère en llamas, pabellón de los EE.UU. para la Exposición Mundial (mejor conocida como La Gran Exposición) Montreal 1967. Pabellón diseñado por R. Buckminster Fuller y Shoji Sadao, 20 de mayo del 1976. Foto de fondo por Doug Lehman, publicada en Progressive Architecture, agosto del 1976.