Gallery Weekend México 2017
Curated by Octavio Avendaño
November 9 -12, 2017
Durante los días de Gallery Weekend México la galería alternará los proyectos de Madeline Jiménez (República Dominicana, 1986) y Ling Sepúlveda (México, 1982). Ambos de carácter performático que buscarán incidir de manera reflexiva en la violencia de género y racial, tanto en la sociedad en general como en el campo artístico. Madeline Jiménez generará una experiencia sonora e “histérica” en un contexto inestable la cual pretende desestabilizar la noción de paraíso tropical y el sujeto exotizado, para apuntalar al objeto de arte como sujeto sexualmente sensible. Por otra parte, el proyecto de Ling Sepúlveda consiste en una carrera de gallinas que involucra a los visitantes del recorrido, quienes podrán apostar. ¿Por qué el velociraptor se convirtió en gallina? es un performance que genera preguntas alrededor de la domesticación, la estratificación y la noción de “carrera” en el campo artístico.
Curated by Octavio Avendaño
August 22 – September 14, 2017
Interview with Mauricio Marcín by the curator Octavio Avendaño:
Letters to (from) a young poet
Gurrola, Gertrudis; sensual shoes
1. f. Phl. Imperturbability, serenity.
Who am I?
……………………[Under our gaze, the verses]
… intoxication of the era
Curated by Octavio Avendaño
June 10 – July 29, 2017
To inhabit the space has been a great dilemma of humanity, doing it represents depositing the memory, either of barbarity or affectivity, individual or collective. On the other hand, the act of imagining has to do with confronting that memory, because there is always hope of separating ourselves from what we are or what we represent as specie. The artistic object is about this, to question us from where to inhabit.
In that sense, the artistic practice of Diego Pérez (Mexico City, 1975) is based on the poetics of contemplation and appropriation. His relationship with gardening, carpentry, cookery and literature establishes his political stance before the art related to demystifying conceptual art that surrounds the world of ideas, to point out the imagination and profession as affective aptitudes to inhabit the space.
Hence, The future belongs to philophotology is an emotional portrait of the artist’s garden, while the majority of the pieces included in the exhibition have a photographic origin –a series of objects created between 2015 and the last week–, in which he combines the relationship with his son and specific moments of the 20th century avant-garde art: game, imagination and surfeit.
The show’s titled, as Pérez explained, “alludes a confession by Man Ray, in which fed up with the art exhibitions’ texts decides to copy letter by letter a text by Erik Satie and use it as text for the catalog of the show he presents, changing words allusive to Satie’s music with others analogous with the artist’s practice.” Fed up with the coldness of contemporary producers’ pretentions, Diego Pérez resorts to the imagination and the affectivity from the appropriation to ask whom the future belongs to.
Curated by Víctor Palacios
Casa del Lago
March 23 – July 2, 2017
This solo show by Tláhuac Mata (Mexico City, 1989) gives continuity to the plastic and social research that the artist has developed in the last years around the different notions of landscape. The exhibition reflects on the ideas that the French botanist and writer Gilles Clément posed in his work The Third Landscape. An Unresolved Fragment of The Planetary Garden (2004). Mata comments on his landscape work: “What I am trying to do is not to oppose nature and human beings, but to talk about how we humans have erased the dividing line between nature and culture.”
February 21 – April 22, 2017
Roberto de la Torre
New Proposals & SAMPLE
February 8 – 12, 2017
Roberto de la Torre
Curated by Octavio Avendaño
November 22, 2016 – February 12, 2017
Conversation between Tláhuac Mata and the curator Octavio Avendaño Trujillo
OAT: When we started planning this exhibition, your concerns about the capitalist race on progressing and generating more value from science and the technique based on the speculation as a contemporary symptom came up.
TM: There is a highly stressful global context that pervades me and manages to appear in my images. Personally, I have always been interested in having certain current ideas in my work, in this case the colonization of Mars (Far Pale Red), the capitalist speculation revolving around that, and the aspirations to exploit the natural resources that might be found there such as water or petroleum: Oil. In the piece titled Sand Garden / Ianis Chaos I refer to a Martian valley where there was water present and then collapsed leaving a giant hole. In general, I point out the capitalist effort to conquer and exploit everything, as the piece I titled Wall, in which I emphasized the absurdity of the human ambition to expand the domains of technique and to spread the Capitalism.
OAT: That is why I find interesting how you use and obtain the image as a critical resource. For example, I think about your piece Victoria, which is a landscape that you imagined of the Martian crater which was photographed by NASA but not from the same angle you have depicted, for it to emphasize the importance of seeing what is outside the image.
TM: I have the necessity of painting landscapes I don’t know to talk about what is outside of that landscape, which means generating a critical context. That is why I look for feelings in the images I use, mainly scientific illustrations and satellite images, and put elements that do not correspond with each other to be able to think that a landscape is no longer of a country, but of a feeling. Or natural landscapes that exist, as the Martian landscapes, but that there is no real relation with them and the one that exists is vicarious and always mediated by a machine; therefore, we cannot truly know that place.
OAT: Unlikely to the contemporary pictorial production in which the gestural expressiveness predominates as a plastic and “conceptual” strategy, your work stands out for being extremely analytical from a more cultural than plastic interest, yet, not for that your pictorial process stops being interesting and revealing, on the contrary.
TM: In the computer I compose the images through digital collage and I use layers to resolve the color and the composition; once having finished the image I start to paint. When I paint there is a type of corporeal translation between what I am seeing, thinking and wanting to do on the canvas; there is no longer an interest in realism but an interest in generating a general atmosphere that would allow the spectator to think about everything that is outside the painting.
OAT: Finally, in Paradise, the ceramic sculpture that works as the exhibition’s statement, you use clay from Oaxaca and Zacatecas which make allusion to that primal idea of humanity, in contrast with the ruins of what was going to happen in Mars. In addition to the statement, this sculpture is a type of link between your most recent exhibition at the Sinaloa Museum of Art, which revolved around the Anthropocene with the same critical exploration that you make in this exhibition.
TM: The interest I have about the Anthropocene appears more diluted in this exhibition, although it is very evident in Oil, where I set out the capitalist obsession with exploiting natural resources either of the Earth or Mars. But yes, you are right, the fact that the technique actually allows to travel to the Earth’s interior or to Mars is the other face of the Anthropocene; it is what Science does not brands as an anthropocentric activity but silences it because the technique that transports human beings to Mars is already ravaging the Earth.
Curated by Estaban King
October 18 – November 12, 2016
Marela Zacarías’ work explores the pictorial surface from a perspective that contemplates, at a time, tridimensional solutions of sculptural character. Her work moves in the domains of the visual but also from the sensorial exploration of the space. In addition to wall art, the artist has developed numerous projects and site-specific interventions that have guided to modular solutions and large format her sculptural paintings or pictorial sculptures.
Coming from a mural painting practice of figurative nature, since years ago Zacarías started to make pieces of abstract style that refers to textile patterns from different cultures of the world. On the other hand, her work refers to specific moments of Art History, in particular to the avant-garde movements centered in exploring geometric and chromatic abstraction as the Bauhaus’ designs or the pieces and researches around color by Josef Albers. Nevertheless, her pieces distance from the asepsis of modernism and the idea of “art for art’s sake” to point out matters related to the state of things in the society.
Zacarías’ predilection for textiles is articulated from different fronts. In first place, she is interested because they are works mainly made by women, who have inherited the manufacturing techniques as well as the motifs and geometric forms through knowledge transmitted orally from one generation to another. Also, they are creations that have survived the pounding and voracity of modern colonialism: the textiles throw light on the history of millenary cultures that have been veiled or even erased from official and hegemonic narratives. From the researches on visuality in different parts of the globe, the artist has developed projects that take as starting point the textile work of pre-Columbian cultures, as well as the Arabic and Mediterranean worlds.
As the making of textiles itself, the process of creating her pieces counters the vertiginous time of corporative logic and mass production that characterize the contemporary society. The material process starts with a wooden base and a metallic net with which the artist intuitively generates forms and waves. This first structure is patiently covered with plaster, day-by-day, week-by-week, until achieving numerous layers. Once sanded, the surface is transformed into a sinuous canvas where her pictorial practice unravels, based on textile designs that are never copied directly. Here, the translation of patterns does not aim to be rational or mimetic but instinctive and poetic.
In this process, each piece takes several months to be finished and, in contrast to the industrial mass production, is always unique and different from the others. The final result is a wavy painting that appears to have the qualities of a fabric: although they are static pieces, the waves along with the selection of patterns, forms and colors generate vibrations and movement.
In La primera raíz (The first root) –her first exhibition in Mexico City– Marela Zacarías takes advantage of these vibrations to make what is called “the third root” appear on the scene – the African heritage. However, the title of the project alludes to a prior genealogy, primal: to the fact that all humanity comes from the African continent. The pieces that compose the exhibition are based on patterns and colors of textiles of different regions of that continent. The choice of this visuality and this geography was not taken by chance. In a moment of exacerbated nationalisms and the re-emergence of fascist trends in different parts of the globe, Zacarías reminds us that we are all immigrants. As the visual paths generated by the geometric sequences in the textile work, her work proofs that all of us are ramblers.
These reflections are not alien to the Mexican sphere, and neither to the artist’s daily life: both countries have a vast history of racism and segregation towards ethnic and cultural minorities that, unfortunately, are still continuing up until now. Facing this situation, Zacarías’ plastic proposal appeals to a notion of shared humanity that pick up the intrinsic value of each culture at the same time that imagines a world where the borders may be blurred.
May 3 – July 9, 2016
Adrián González is interested in demonstrating that the current individual is a being submitted and dependent on the visual environment: advertising, informative, cultural, social; where the image advances passively towards the individual but without an exploratory (critical) resistance where the individual advances towards the image. The experience of reality tends to turn into a spectacle. Thus, Adrián González relation with the world depends largely on the images he consumes, since nowadays they constitute the most direct vehicle of our education and the knowledge of the environment.
Through painting as a way of visual exploration and from the interpretation and problematization of forms and structures perceived in the photographic images, he seeks to evoke and represent a saturated and abundant visual culture from his experience inside the social environment of Mexico City. One cannot escape from the constant transformation and noise of the city, from the massive presence of people, buildings and urban objects. The excess that surrounds us corresponds with the saturation present in his artworks.
In painting, Adrián González finds an act of resistance that communicates a relation with the world, a contagion between the body and the space, and what drives him to reflect on what type of bond he establishes with the world of images and their value as faithful record of the reality. The images are, but up to what point are we conscious of their construction? What degree or level of knowledge do we reach regarding our own environment, our own reality? These are questions that refer to the world we are living in and how we construct it.