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Abraham Brody

@eyibra

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PATRIOT CONDITIONER (2026) on view at @casadellago.unam as part of my solo exhibition ‘CAMPO DE HOMBRES’ (men’s zone/field of men) until July 3. taken in Casa del Lago UNAM by @eyibra
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4 months ago
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Commissioned by Casa del Lago, CAMPO DE HOMBRES is a video installation and sculptural exhibition by EYIBRA that traces an unsettling proximity between football, militarism, and masculinity, transforming the exhibition space into a training ground where power is rehearsed and the body is disciplined. Rooted in Mexico City’s Campo Marte—a site where military ritual and national sport coexist—the work evokes the stadium as a battlefield where muscles are trained alongside fictions of virility, patriotism, and authority. Featuring a cast composed entirely of former soldiers and professional footballers, the work unfolds through ambiguous choreographed actions: formations assemble and dissolve, bodies move into charged proximity, and breath sets an unstable rhythm. Suspended in a state of anticipation, CAMPO DE HOMBRES reveals masculinity not as certainty, but as a fragile performance shaped by discipline, desire, and power. Curators: Cinthya García Leyva y Casa del Lago. Museografía: @beruz Sound design mix: Enrique Arriaga Apoyo adicional museográfico: @tanjamoklein taken in Casa del Lago UNAM by @eyibra
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5 months ago
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GOOD BOY — full performance GOOD BOY recontextualizes protection dog training to examine masculinity, discipline, and the normalization of violence. Practices designed for control and enforcement are relocated into cultural space, where the human body becomes the site where power is rehearsed and inscribed. Developed through embodied training, the work places a queer body within systems that demand obedience, endurance, and proof of strength — exposing masculinity as something produced through ritual, pressure, and sacrifice. Through duration, trained aggression becomes choreography, revealing how violence and compliance are learned and maintained. Please experience the work continuously, from beginning to end. Video: @k.vv.n grillz @xenojewelry by @eyibra
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8 months ago
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DECOY (2026) galvanized steel, bamboo, jute protective bite sleeves, variable dimensions DECOY emerges from the performance GOOD BOY developed through research into belgian mondioring and protection-dog training. The sculpture draws on equipment used during these sessions: a bamboo baton used to excite the dog and provoke an attack, as well as padded jute bite sleeves designed to be bitten. Here, this training apparatus is transformed into an anthropomorphic armor that evokes the body of the *homme d’attaque*—the “decoy”: a trained, disciplined body that is ultimately exposed and replaceable. Suspended between anticipation and impact, the structure appears to await the attack, preparing itself to receive it. The work makes visible the material infrastructure of training, obedience, and controlled violence that conditions both dogs and humans. Through this bodily figure, DECOY interrogates how bodies are trained to absorb force, embody authority, and perform roles within systems of protection, security, and power. Artistic support: @beruz @ponnylee 📷 @ponnylee by @eyibra
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24 days ago
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Sistema (2026) By @eyibra Dp: @k.vv.n Performers: @luis_danielalvarezmaldonado @mahemario Manuel Alvarez, Alberto Gonzales AC: @danielcortiz @hvnsoars Gaffer: @amorettterno Vestuario: @elbordemx @irancomoelpais Museografía: @beruz Comissioned x @casadellago.unam by @eyibra
14
2 months ago
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GOOD BOY (2026) in Brussels 📷 @dc.tine.brxl taken in Bodies In Space Bis by @eyibra
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3 months ago
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GOOD BOY (2026) presented at @bodiesinspace.bis Thank you so much to team Livia Cuiveiller, @janehaesen @aza.music_ @julien_auregan and the trainers, Olivier Lefevre, Annie Deveseleer and Pierrick. Eyibra, in his performance Good Boy, is not just a performer. His body is not represented, but submitted to a situation: exposed, disciplined, exhausted, made available to the audience as a site where pain, endurance, spectacle, and ritual become difficult to separate. Through fear and pain, he puts on display the politics of the wounded body. The dog does not appear as wildness, nor does the performer appear as mastery. Both arrive already inscribed by commands, repetitions, signals, rewards, and prohibitions. The dog has been trained to read the smallest movement of the human body. But the performer, too, has been trained: to stand before the animal, to wait, to expose himself, to make his body available to impact. The dog does not stand as a symbol. It is not there to represent instinct, violence, or masculinity. Its instinct has been shaped by human systems of breeding, discipline, obedience, and protection training. But that does not make the dog a machine; it remains an animal body with desire, drive, attention, and force. The human and the dog do not arrive as separate bodies. They become what they are through relation: through command, repetition, touch, reward, risk, and anticipation. The performance is therefore not simply an attack, but a chain of responses between species. In Good Boy, the animal gaze, the shame and exposure of the human body, and the collapse of the human as master, subject, and sovereign observer become central. The dog does not ask what the performance means, but it reads what the body gives away. The human is not explaining the animal. The animal is silently undoing the human. Text by @ali.cherri by @eyibra
4
3 months ago
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Last week to see my solo show ‘CAMPO DE HOMBRES’ at @casadellago.unam until July 3rd. This video installation and sculptural exhibition traces an unsettling proximity between football, militarism, and masculinity, transforming the exhibition space into a training ground where power is rehearsed and the body is disciplined. CAMPO DE HOMBRES takes Campo Marte as its point of departure, a territory where military ritual and the national sport coexist. Here, the stadium emerges as a battlefield: a site where not only muscles are trained, but also fictions of virility, nationhood, and authority. The cast, composed entirely of former soldiers and professional football players, inhabits a series of barely decipherable actions: formations that assemble and dissolve, bodies that move closer than necessary, breaths that establish an unstable rhythm. There is no explicit narrative, only a sustained tension, as if something were about to happen—or had already happened. Within this threshold, masculinity no longer appears as a certainty but reveals itself as a fragile construction, sustained through discipline, desire, and repetition. CAMPO DE HOMBRES proposes the body as a territory where the fictions of power are rehearsed, performed, and begin to fracture. Concept and Creation: EYIBRA Exhibition Design: @beruz Curated by: Casa del Lago UNAM In collaboration with @k.vv.n @mahemario @luis_danielalvarezmaldonado @manuel_alvarezm, Beto González and Enrique Arriaga by @eyibra
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4 months ago
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GOOD BOY BRUSSELS PERFORMANCE TICKETS AT LINK IN BIO OF @bodiesinspace.bis by @eyibra
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4 months ago
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Sweat Study VIII (2026), artists’ sweat on Japanese rice paper, fixative, acrylic panel, 90x60cm by @eyibra
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4 months ago
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¿Qué tienen en común un estadio y un cuartel?, ¿Qué cuerpos se entrenan cuando vemos futbol? En Campo de Hombres, el artista mexicano EYIBRA transforma la sala 5 de Casa del Lago UNAM en un espacio donde deporte, poder y masculinidad se entrelazan. Una instalación multimedia que invita a mirar el juego desde otro lugar. Visítala de miércoles a domingo de 11:00 a 18:00. Entrada libre. 📸Mara Arteaga by @eyibra
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4 months ago
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‘PATRIOT CONDITIONER’ (2026) commissioned by @casadellago.unam as a part of my solo exhibition ‘CAMPO DE HOMBRES’ Galvanised steel, chains, cable, boxing bags. Dimension variable Museographer: @beruz Assistance: @tanjamoklein Curator: @cinthya_gl & Casa del Lago Team by @eyibra
6
4 months ago
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