CUATRO MIL GRADOS CENTÍGRADOS (Incluso una leve luz provoca una sombra)
Selma Guisande
Selma Guisande's artistic practice is undoubtedly an example of the relationship between creative (imaginative) processes and everyday tasks; it connects us through a meticulous look at details that escape us at first glance but are constitutively present. There is a metalanguage that takes us from the projection of a shadow to the complexity of the human figure, a figure that resists its own forms and expands through light and/or color. Guisande's work reflects her feelings about the world but also about self-care and the intimate aspects of being human; through this artistic proposal, it is possible to experience the political dimension and, at the same time, this space of refuge from creation itself.
This exhibition is presented from two possible dimensions: on the one hand, a dimension that expresses a broad social and political meaning, taking as a reference the explosion of the atomic bomb in Hiroshima and the human shadows imprinted on the streets of this city, a consequence of the heat impact of "four thousand degrees Celsius" emitted by the bomb. On the other hand, there is a more personal, more intimate dimension, addressing themes related to memory, identity, the body, and the archive, without losing sight of their relationship to the context. Visible in these works are the notions of movement, transit, and continuity, as well as references to the history of photography, which are linked through elements such as shadow, the search for a copy of a copy, the notion of deconstruction, the absence and presence of color, light and shadow as projection, among other elements.
This exhibition encourages us to observe the details, to look from a different perspective at the possible representations of the body and its unfoldings, its social imaginaries, as a way of gauging the implications of artistic production related to personal, historical, and contextual experience.
Co-curatorship: Fausto Gracia
RGB + pixel muerto
Juan Pablo Meneses
RGB + Dead Pixel is an exhibition conceived around two central concepts: RGB and the pixel.
RGB is the color model most widely used in digital photography. It is based on the combination of the three primary colors of light—red, green, and blue—a process known as additive color synthesis. A pixel, meanwhile, is the smallest individual element of a digitally reproduced image.
Drawing from these concepts, the exhibition brings together pixelated images, videos featuring glitches and white noise, and photographic interventions created through the use of red, green, and blue—the RGB color spectrum. The works employ a range of artistic strategies and media, including intervention, installation, video, and photography.
Photography has existed for approximately 160 years and has undergone numerous technological transformations since its invention. With the introduction of digital cameras, the medium changed dramatically and irreversibly. Many have questioned whether digital images can still be considered photography. From a theoretical perspective, Joseph Nicéphore Niépce’s earliest photograph bears little resemblance to contemporary photographic production.
For several decades, photographers have incorporated resources and disciplines from other artistic fields in order to expand the boundaries and possibilities of the medium. As a result, photography has gradually been redefined as an expanded image.
The conceptual framework of this exhibition begins with the idea of the death of art and photography, drawing on Arthur Danto’s After the End of Art and Laura González-Flores’s essay Photography Is Dead! Long Live Photography!
The exhibition revisits the concept of the end of art within the context of post-photography, while exploring the possible death of photography itself. What has photography represented as a technical image, and how have new technologies transformed the ways in which it is produced, perceived, and understood? Technique has not merely served as the foundation of photographic syntax; it has also shaped the very conditions through which photography constructs meaning.
Curated by Selma Guisande
Corazón Egoísta
Dolores Hidalgo
Dolores Hidalgo continues its journey through the Bajío region, this time arriving at the Museo de Arte e Historia de Guanajuato as part of the celebration of the 200th anniversary of the state. With its playful and magical nature, the project draws attention to various aspects of the art market.
DESTRUCCIÓN SE PRONUNCIA CONSTRUCCION
Rodrigo Meneses
On this occasion, artist Rodrigo Meneses presents his work at the Hilario Bustos Gallery of the University of Guanajuato. In this exhibition, Meneses creates graphic representations based on fragments from his previous creative processes—highlighting the ways in which ideas are added, removed, or expanded in an apparently erratic process that visually reveals the non-linearity of thought.
Meneses shifts the focus from the materiality of the artwork to the attempt to externalize the thought process within artistic production—an approach that also underlies each of our everyday actions.
La Preponderancia de lo Pequeño
Taller Treinta
If all of humanity were to disappear, the world would regenerate to the rich equilibrium state that existed ten thousand years ago. If the insects were to disappear, the environment would collapse into chaos.
Edward O. Wilson
Not so much is said about them, about the loss of insect communities and how devastating this is for the vitality of ecosystems and their food chains. We are ignorant witnesses of the mass extinction of a variety of species as a consequence of human practices focused on economic growth, toxic industrial agriculture, habitat destruction based on progress.
Today we will look at the problem through the systemic and empathic lens proposed by T30, where, making use of technological and poetic resources, we call on you to reflect on the human-insect interspecies relationship through the analysis of some specific cases.
The pieces arise from a collaborative work process, the result of the desire to not only witness but accompany the problems that arise. With specific questions based on observations and empirical processes, we explore possibilities through artifacts, imagination and fiction.
Ours is a sympoietic work process that allows exchanges from different ways, languages and perspectives, achieving as a result a group of pieces that interconnect, diverge and elaborate from a shared initial point.
Through the change of scales our perception is sharpened, we are invited to pause and look at what we do not see, we are allowed to listen to the tiny voices that would normally go unnoticed, to witness the conversation between two insects, one appreciated by humanity and one repudiated by her, to finally understand that in both cases human attention has a devastating effect on the species.
Speculative fiction is an important resource in this exhibition, which imagines solutions to real tragedies, such as the construction of a bridge made of mycelium to reconnect the interrupted path of all the small species after the construction of a massive road distributor that did not consider them in her project. The proposal is a first step towards healing what is a huge wound in the mountain and in the life cycles and migration of the fauna that inhabits it.
Another possibility is to create an immersive experience through a listening space that gives way to contemplation, with the purpose of nourishing the imagination from the voice of an arthropod.
Finally, a response to the potential disappearance of a species. Fireflies practically extinct in our environment. The piece proposes a simulation of these beings in captivity, which results in an evocation as nostalgic as it is sinister.
We want this process to lead us to conversations about how to live in a more respectful way, valuing all other species as much as humans.
Meanwhile, life asks with patient urgency to be taken care of.
1-sympoiesisis a term coined by Donna Haraway to define the action of "doing with others", doing in accompaniment.
Corazón egoísta
Dolores Hidalgo
On this occasion, Dolores Hidalgo presents Corazón Egoísta at Ache Galería. The project is made up of a collaborative pictorial work between 80 artists -in which the homonymous painting by the Mexican artist Olga Costa is reinterpreted-, and a set of pieces made by the collective that oscillate between videos, objects and displays of an installation nature. With a diverse, critical and playful practice, Dolores Hidalgo challenges the role of the artist in contemporary society and explores the nature of the art system from its globalized condition. Dolores Hidalgo describes her works of art as tools that arise from an imaginary space, based on study, play and encouragement.
Corazón egoísta
Dolores Hidalgo
On this occasion, Dolores Hidalgo presents Corazón Egoísta at Ache Galería. The project is made up of a collaborative pictorial work between 80 artists -in which the homonymous painting by the Mexican artist Olga Costa is reinterpreted-, and a set of pieces made by the collective that oscillate between videos, objects and displays of an installation nature. With a diverse, critical and playful practice, Dolores Hidalgo challenges the role of the artist in contemporary society and explores the nature of the art system from its globalized condition. Dolores Hidalgo describes her works of art as tools that arise from an imaginary space, based on study, play and encouragement.
