Anna Goetz

  • Cristóbal Gracia, Caronte, 2019, coconuts, plastic jaws, epoxy platiline, painting, and airbrushing on beach towels, dimensions variable.
    picks July 30, 2021

    The Green Goddess Reloaded

    A follow-up to a 2019 exhibition in the French city of Lille that reflected, from a contemporary perspective, on the mythical lost city of “El Dorado” and the narrative of conquest it enshrines, “The Green Goddess Reloaded” focuses in particular on Mexico: how the country has long been exploited by imperialism and capitalism, serving as both a site of extraction and as a projection screen for colonial fantasies.

    Although some of the works in this new edition may leave a didactic aftertaste, the fruitful dialogue between the twenty-two international and Mexican artists makes it evident that these

  • View of “Jorge Satorre: Moral Modern Subject, Decorating the Pit,” 2017.
    picks May 22, 2017

    Jorge Satorre

    In 1946, the Mexican architect Enrique del Moral bought the land where this gallery is located to build his own house and garden. Nearly sixty years later, the resultant iconic modernist building was modified, and in 2002 Fernando Romero built his own offices in the garden area. For his third solo exhibition here, Jorge Satorre takes up this history. He has opened up a gallery wall to connect the white cube with the garden. In front of the opened wall he dug a pit that exposes fragments of the former building’s foundations. He has embossed the inner surface of this ditch with casted elements

  • Veit Laurent Kurz, Fear and Impatience (Herba-4 Series), 2016, acrylic, crayon, oil chalk, acrylic varnish, and digital print on wood, 16 7/8 × 20 1/8". From “Se nos cayó el teatro” (Our Theater Has Fallen).

    “Se nos cayó el teatro”

    Lodos inaugurated its new space with the group show “Se nos cayó el teatro” (Our Theater Has Fallen), which presented the work of eight international artists and collectives. The wide variety of works, from painting to sculpture to video to photography, coalesced into a sensitive, poetic reflection on the challenges of art- and exhibition making in this current climate of political instability.

    At the entrance of the exhibition space, a worn-out wooden yoke hung from the ceiling and rotated mechanically. A rough copper sheet covered the wooden bar, embossed with the work’s title, They gather,