Al encuentro con gigantes
Daniela Edburg | Photography
Texan-Mexican artist who works on the connection points between science, nature and fiction mainly through textile art and photography. His work results from collaboration with friends and acquaintances and references literature, art history, and popular culture. In her most recent project, Daniela takes Mary Shelley's novel Frankenstein as a starting point to find the relationship between the geography of a sick body and the last breaths of a glacier on the verge of extinction.
Seeking to create connections out of feeling out of place, he has held residencies in Iceland, Spain, France, the Swiss Alps, the Canadian Rockies, and the United States, thanks to repeated support from the National Endowment for Culture and the Arts and institutions. such as the Museé du Quai Branly and the Denver Art Museum as well as the support of independent spaces such as Cherryhurst House in Texas.
His pieces are part of public collections such as the Art Museum of the Americas in Washington DC, the Museum of Latin American Art in California, the Denver Art Museum, the MFA Boston, the MOPA San Diego in the United States, and the Astrup Fearnley Museet in Oslo, Norway.
He lives in San Miguel de Allende, Guanajuato where he is a member of Taller30, a collaborative space that houses a cooperative of artists whose work integrates art, technology, science and sound. Since 2017, he has been part of the National System of Creators with the support of the National Fund for Culture and the Arts of Mexico.
Mazapanes en agosto
Rebecca Uliczka | Photography
This project talks about a part of our culture, the individual and global perception of one's own time and that of others. It refers to an alteration of our natural rhythm caused by the economic system of globalization, which affects agriculture, and is responsible for climate change, where winters are getting warmer and society decides to sell the Christmas season in August .
The Mexican haciendas are spaces that remain as a vestige of a time of economic splendor in the agricultural, beekeeping, livestock revolution and the production of tequila and
mescal. In these spaces time has passed and the trace of an ephemeral moment remains in the deterioration of its walls that shows versions of a process of transformation and adaptation to circumstances.
Time has been an important element of my life, as it reflects momentary feelings of disagreement with my environment. My father, a master watchmaker by profession, always keeps time very precisely. The most significant gift from my childhood was a wristwatch. Its purpose was to understand the value of other people's time. Time was no longer governed only by day and night, or light and darkness, but by a specific number, set by the hands of the clock.
rebecca uliczka
Destrucción se pronuncia construcción
Rodrigo Meneses | Graphics
“…every new beginning comes from where another new beginning ends.”
Closing Time – Semisonic
As a progressive and ascending line, the globally widespread Western idea of historical progress is a narrative used to explain the succession of events in various fields (political, national, scientific, artistic, etc...) that operates as a generalized discourse in favor of of the concept of linearity.
This linear idea can be contrasted with something as close as our thought, which, however, is hidden behind the simple but effective veil of closeness and everydayness, preventing us from unraveling the complex process by which we generate ideas.
In search of a model that would detail the architecture of thought and its dynamics, the psychologist Lev Vygotsky proposed "egocentric speech" as a unit of analysis, which refers to speech to oneself that partially externalizes our thought that accompanies action. .
In this exhibition, Rodrigo Meneses creates graphic representations from fragments of his previous creative processes, the way in which ideas are added, eliminated or expanded in an apparently erratic process, but in a visual way. Evidence of the non-linearity of thought, Meneses relocates the focus of the materiality of the work to the search for externalizing the thought process in production within the field of art, but which also underlies each of our daily actions.
Jose Tercero
Un Tiempo en la Tierra
Ana Gomez and Federico Jordan | Ceramics
Ana Gomez and Federico Jordan | Ceramics
Ana Gomez and Federico Jordan | Ceramics
Un Tiempo en la Tierra is the trace of a set of actions that go into the mud / processes where the hands and feet knead and collect the mud // bark and dry lilies that light the fire of a primitive burning / smell that wakes up // courses that explore and reconstruct affects from the territories that surround us / that of the body / that of memory / that of shared space / that of words / ritual / materials and forms //
Although the work of Ana Gómez and Federico Jordán have different searches, in this collaboration they delve into a fluid dialogue based on ceramics, drawing and the creation of figurines, plates and vessels. Within the production room that Federico made in Ana's ceramics workshop, one of the proposals that arose when making the pieces was to create an inverse archaeology, burying the produced works, leaving them for a certain cycle underground to later observe how time occurs in them.
From these reflections they created spontaneous burnings with collected materials and painted the ceramics with mud from San Miguel de Allende, with salt, soot and other endemic materials; that is why the works are perceived as a round trip from earth to earth; go through, dig up, elaborate topographies, dig, knead, burn, draw, restore, burn again and return to the place of origin.
Based on a continuous and rich dialogue with the artists and the gallery, the exhibition takes up elements of archaeological museography, creating mediation devices such as taxonomic nomenclatures, burials and recording of processes from photographs and video.
Time / in the opposite direction / slowing down // playful //
Earth / that clings to its horizontality in the face of any attempt to progress //
Selma Guisande
Curation
Espacio y Fundamentos
Elisa Urias | Graphics and Installation
“I wear black on the outside
cause black is how I feel on the inside”.
Unloveable, The Smiths
Large formats, appropriation of space through installation, recurrent figures and an enormous restlessness that took me days to name are the elements recognized in this exhibition that move the links established for years. And a tune that is repeated over and over again.
In a liquid world, where it is customary to associate the word “landscapes” with colorful images captured under a natural golden light or the millions of artificial filters in apps, Elisa Urías stops us in front of her disturbing work to look/look at ourselves inside. That internal journey that at some point in life we all must plan.
The idea of black as the misnamed “absence of color” seems to me now, after going through the graphic work, an equivocal term to avoid naming the abyss that accompanies us at home, in public space, on walls, in memories. , in what makes us up, what makes us people and not profiles. Because we can travel a chronological line, a public life with 60-second stories with the choreography of the moment, but here in the tangible world, there are artists like Elisa making our ghosts real, those that do not appear on reels and that we hide well in the TikToks.
With his graphic work, Urías places us in front of the depths and shows us the precipices, we recognize them because they are there with us, they sleep in our bed, they eat with the family, they walk by our side while whispering a tune from The Smiths. Now I invite you to peek / peek into the abysses.
Tristana Landeros
La Divina Comedia
Rebecca Uliczka | Photography
In her exhibition "La Divina Comedia", Rebecca Uliczka represents herself photographically, intertwining the questions of life in hiding places that shelter her, these nooks and crannies being ideal for reflection. Uliczka's photographic images are impregnated with a ghostly aura whose protagonist uses her own body as a pencil of light drawing on relaxed times. Alighieri's songs break the silence and lead her to generate abstractions where the blur is lost and blurs with the rooms portrayed. Will the artist look at the constructed canvases for the answers to the questions she has asked herself?
Flor Acosta
