NETWORKING WITH ARTIST ANDY MEDINA

by Axelle Dechelette

Portrait by Rodrigo Álvarez for PIN–UP 39.

A key figure in the Oaxacan art scene, Andy Medina can always be found in motion, whether he’s preparing for a solo exhibition, organizing a group show, activating his art collective’s space, or making clothes. Medina understands his creative practice beyond his personal art production, integrating creative direction, production, organizing, and generating social connections into his practice. “It is very gratifying to see these networks of people emerge, with all these anchors stimulating one another, just like cells that are interconnected,” he says. With a background in monumental sculpture, Medina sees little difference between engineering an art work and organizing events. “It’s all about resolving something, whether material problems or human situations. It’s just a matter of scale.” Medina’s installations are immersive experiences that explore questions of language, legibility, and how the reader influences the message — almost a theory of relativity applied to language. “Human is the question,” read a large-scale mural at the Museo Tamayo in 2024; “Home is where we are allowed to dream” was embroidered on a rug shown at PIN–UP’s installation at the Cooper Hewitt’s 2024 Design Triennial. “I like the idea of proverbs whose meaning depends on the interpretation,” he says. His most recent installation is a “truth-detection” device presented at Museo de Arte de Zapopan (MAZ), in which participants are invited to reveal their truths to a polygraph. “No truth is absolute,” Medina says. “It’s about confronting your idea of truth.”

Portrait by Rodrigo Álvarez for PIN–UP 39.

Andy Medina, Humano es la cuestión (Human is the question); painting wall, 19.7 feet × 23 feet. Part of the group show Otrxs Mundxs curated by Aram Moshayedi and Lena Solà at the Museo Tamayo Arte Contemporáneo in 2025. Photography by Rubén Garay. Courtesy of the artist.

Andy Medina, Ninguna verdad absoluta (No absolute truth), metal installation, plasma-cut metal plates, LED screens, lie detector, video. Part of the show Ficciones Narratividad en el arte contemporáneo (Fictions. Narrativity in contemporary art) at the Museo de arte de Zapopan MAZ and Centro cultural, 2025. Photography by Norberto Miranda. Courtesy of the artist.

Andy Medina, Big Solutions 4 Big Problems, installation of CNC-cut metal plates, metal structure, oil paint, adhesive vinyl, and concrete base. 10.8 x 11.5 feet. Part of the exhibition Corteza seca curated by José Esparza Chong Cuy in Parque Fundidora, Monterrey, Nuevo León, for the Santa Lucía Internatinal Festival, 2025. Photography by Treceyzero. Courtesy of the aritst.

Andy Medina, Ninguna verdad absoluta (No absolute truth), metal installation, plasma-cut metal plates, LED screens, lie detector, video. Part of the show Ficciones Narratividad en el arte contemporáneo (Fictions. Narrativity in contemporary art) at the Museo de arte de Zapopan MAZ and Centro cultural, 2025. Photography by Norberto Miranda. Courtesy of the artist.

Andy Medina, Ninguna verdad absoluta (No absolute truth), metal installation, plasma-cut metal plates, LED screens, lie detector, video. Part of the show Ficciones Narratividad en el arte contemporáneo (Fictions. Narrativity in contemporary art) at the Museo de arte de Zapopan MAZ and Centro cultural, 2025. Photography by Norberto Miranda. Courtesy of the artist.