Donde la Tierra Permanece
Mauricio Palos | Photography
In this exhibition, Mauricio Palos presents a series of meta-narratives that interweave declassified documents, historical archives, and photographic documentation following the traces and presence of American colonialism and extractivism in Mexico, Panama, Colombia, and the United States, showing traces of the sociopolitical impact on the Latin American territory. The author makes evident the puzzle of the interventionist strategies in the framework of the Cold War, at the same time that he delves into the routes of the evangelical churches and the reconfiguration of spiritual territories throughout the continent.
The tour begins in the Balboa lunar crater, a nod to the training that the first astronauts had at the School of the Americas, founded in 1946 and located in Panama until 1984. The main mission of said institution was to serve as an instrument to confront the counterinsurgency movements that went beyond the US ideological canons. The infamous graduates: military, police, dictators and even drug traffickers applied to the letter the knowledge acquired in courses and manuals, politically destabilizing and violating human rights in Latin America, under the protection of their governments.
In his pieces, Palos experiments with video and printing techniques, constructing visual compositions that link micro-stories with historical facts, generating documented hypotheses and speculations: the similarity between the Trumpist militias and the manual "Psychological Operations in Guerrilla Warfare", designed by the CIA and used against the Sandinista government in Nicaragua; US involvement in the Napalm bomb attack in Tolima, Colombia, in the 1950s; the photographic follow-up of the supporters of Dr. Salvador Nava and the threat that the growth of the Cabo Tuna aerospace project in Potosí, and its Physics 1 rocket, could have represented for the American people in 1957.
Images that reveal a complete network between ideology, power, spirituality and its continuity in other parts of our galaxy; cultural impositions whose consequences are a long list of traumas, injustices, dispossession and losses where only the Earth remains.
Zona Mágica
José Ángel Robles | Painting | Sculpture | Ceramics
Entering Ache Gallery is doing it in the Magic Zone, entering this space is being surrounded by works of art.
In this case, the paintings and prints will transport us to various states of being; manifestations of the deepest part of the artist, internal landscapes that seek to produce empathy with those who go through them and see them carefully, works that seek to encourage contemplation, immerse themselves in abstractions that show the essential.
Space becomes an atmosphere that is space itself. There are pictorial elements that contribute to the perception of certain contrasts, which invite us to discover the "behind". Ceramic sculptures are also those elements; they have gained dimension, they could figure on canvases and prints, they could be part of the abstract substance.
They are integrated as an amalgamation of sensation and feeling.
The entire work constitutes the psychic interior of those who, traveling through our landscapes, reproduce them in pictorial, plastic representations.
360° SLP
Juanita Villegas | Photography
A sensory periscope from the closed space towards the greatness of the city that surrounds us.
From an artificial dome, the spectator can project his sensory imagery towards the buildings and landscapes that he already knows or is about to know.
The viewer enters a diorama where perceptual sensations play with their location in space-time.
We will discover a San Luis Potosí from the perspective of a foreigner living in the center.
We will understand the urban scale of the elevation of the civil constructions of the historical center to the solemnity of the religious constructions.
Retrato Auto
Rodrigo Menéses | Recorded
The Auto Portrait prints portfolio explores portraiture as a source of expression that addresses personality, emotion, etc. as symbolic possibilities.
At present, the use of the portrait has been potentiated with mobile devices with the selfie as an instrument of here I am. As a counterpart Portrait Auto explores it from the existential I am.
Technically, the characteristic black of the engraving is exploited as the shadow or irrational content of the human being. The expressive possibilities of the drypoint technique are a means to obtain strong lines that, when obsessively overlapped, dark planes and forceful shapes are achieved.
