Daniel Guzmán is an artist who works primarily in drawing, painting, sculpture and installation. His drawings have various influences, including popular culture, serial killers, sexualized women, literature and music. Guzmán began drawing at the age of eight during a time when his family often moved house; he credits his artistic practice with easing the transitions. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayHe and Luis Felipe Ortega became close friends thanks to their shared interest in music and literature; The two artists found work together working as film technicians in a science museum, where they had access to film equipment. During this period Guzmán collaborated on two films with Ortega, which were later compiled with early 1990s video work by Abraham Cruzvillegas, and Damián Ortega, in the 1999 compilation project Sangre y pantimedias. However, Guzmán's cinematic work is mostly limited to this period, and he is primarily known for his drawings. Guzmán participated in the pre-Temístocle exhibitions Aire fresco en el verano del amor (1988); The Artist's Hands I (1991); In Situ (6 installations) (1991); and Club Hípico La Sierra (10 installations) (1991). With Ortega and other students met at ENAP and in José Miguel González Casanova's Taller de dibujo, Guzmán would become a founding member of Temístocles 44. He exhibited in the opening exhibition Temístocles 44-I (Decoración para el hogar) (1993); the second exhibition, Temístocles 44-II Seis installations y una exposición individual de Daniel Guzmán (1993), featured his drawings from the previous four years alongside new works by other artists. Guzmán's drawings were also included in Luis Felipe Ortega's expository text for the exhibition, Transgresiones en serie (1993) (for the full text, see Appendix D). Guzmán also exhibited in Calma (1993) and Terror en la Montaña Rusa, Sensurround (1994). Guzmán has been involved in publications affiliated with Temístocles 44 from the beginning, including the magazine-turned-publishing house Moho (founded in 1989); Modern Pus (1989-1996); El padrastro, or, El palacio de la vulgaridad (ca. 1991-1992); Alegria (1992-1993); the unreleased Khurti; (Des)natural balance (1995-1996); Casper (1998-1999) and Fantoche (1999). During Temístocles 44, Guzmán participated with the other artists of Temístocles 44 in Jonge Kunst Uit Mexico (1994); Acné or the new illustrated social contract (1995). After Temístocles 44, Guzmán was part of the Art & Idea gallery and began his long-term collaboration with the galeria kurimanzutto which continues to represent him. He participated in the exhibitions Economía de mercado (1999); Five Continents and a City: Second International Painting Salon (1999); Artist's Hall (1999); Metropolis Mexica: Aspects of L'art contemporain au Mexique (2002); Entre líneas (2002); Eco (2005); Escultura Social: A New Generation of Art from Mexico City (2007); Mexico Inside and Out: Themes in Art Since 1990 (2013-2014); and Strange Currencies: Art and Action in Mexico City (2015). He collaborated with Alias ​​Publishing, directed by Damián Ortega. Please note: this is just an example. Get a custom paper from our expert writers now. Get a custom essay In addition to creating visual art, Guzmán is part of the band Los Pellejos (The Skins). Although he is best known for his drawings, comics and paintings made with a humorous but genuine sensibility, Guzmán's sculptures and installations share the same wide range of influences as his two-dimensional work..