Néstor Jiménez
Dios nunca muere, 2015
Set of 8 drawings of charcoal of a carbonized violin on paper, and one carbonized violin fingerboard
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Framed dimensions (each):
32.68 x 24.8 x 1.5 in
83 x 63 x 3.8 cm

Violin Fingerboard Acrylic Box Dimensions:
6.22 x 19.53 x 16.69 in
15.8 x 49.6 x 42.4 cm

Violin Fingerboard Dimensions:
10.24 x 2.56 x 2.4 in

“Dios nunca muere” (God never dies) is a work based on the theme Macedonio Alcalá’s waltz, functioning as a reflection on the transformation of matter, the eternity of the value of use and reuse from its instrumental nature by transforming a complex instrument into raw material for the realization of another. The political relationship between the creative act and destruction.

The work is divided in two parts: the first is an action that implies the burning of a violin with the final intention of producing charcoal. Using this very charcoal, the second part is the realization of eight drawings, representing all the potential steps of the waltz.


Néstor Jiménez (Mexico City, 1988). Visual Artist graduated from the Escuela Nacional de Pintura Escultura y Grabado “La Esmeralda”, Néstor Jiménez’s work focusses on the relationship between the collective political and historical memory, and social movements that emerged in the late 1980s on the eastern outskirts of Mexico City. Highlighting the processes that constructed these memories, Jiménez portrays the discursive and iconographic distortion of Leftist (Marxist-Leninist) thinking and how those memories shaped socio-political realities in Mexico by using memory exercises, reconstructed actions and invented versions of historical events. To represent said ideas, Jiménez paints over recovered materials that are prominent in popular and residual housing in Mexico and proposes distorted versions of the architecture and landscape of the areas as starting points to reflect how the representations of these territories serve as political tools. Jiménez also attempts to portray the different ways in which violence is represented by official media outlets in order to build an artistic archive that is antagonistic towards the state in regards to the historical development of social mobilization and political tensions that this generates when inserted in private and state spaces. His work is mainly carried out in painting, video and installation.