By deploying a range of media and visual strategies, Julio César Morales investigates issues of migration, underground economies, and labor on the personal and global scales. Morales’ practice employs multifarious mediums specific to each project or body of work. He has painted watercolor illustrations that diagram human trafficking methods, employed the DJ turntable, produced video and time-based pieces, reenacted a famous meal, all to elucidate social interactions and political perspectives.
Morales’ artwork has been shown at venues internationally, including the Lyon Biennale, Lyon, France; UCLA Hammer Museum, Los Angeles, CA; Prospect 3 Biennale, New Orleans, LA; the Istanbul Biennale, Istanbul, Turkey; Los Angeles County Art Museum, Los Angeles, CA; the Singapore Biennale, Singapore; Frankfurter Kunstverein, Frankfurt am Main, Germany; Rooseum Museum of Art, Malmo, Sweden; Fototeca de Havana, Havana, Cuba; Museo Tamayo, Mexico City, Mexico; San Francisco Museum of Modern Art, San Francisco, CA; The Nordic Watercolour Museum, Skärhamn, Sweden; muca-Roma, Mexico City, Mexico. His work was also included in The Getty’s Pacific Standard Time: LA/LA exhibition, Home – So Different, So Appealing in 2017.
His work has been featured in publications, including Flash Art, The New York Times, Artforum, Frieze, Art Nexus, and Art in America. His work is in private and public collections including The Los Angeles County Art Museum, The Kadist Foundation, The San Diego Museum of Contemporary Art, Deutsche Bank, The Museum of Modern Art, New York, The Museum of Fine Arts, Houston, and Pérez Art Museum Miami among others.