picks February 04, 2020

“Emiliano. Zapata despues de Zapata”

Mónica Castillo’s Plato de Zapata (Zapata’s Dish), 1987, depicts the severed head of Emiliano Zapata, the worshipped agrarian leader of the Mexican Revolution, served on a platter surrounded by forks and knives. In a country where the past is idealized to such extent that it becomes fixed, its (male) protagonists turned into secular saints, the vision is, to say the least, a strident one. However, in this exhibition—whose discourse has been blunted by histrionic protesters—curator Luis Vargas Santiago successfully argues that Zapata’s popularity eclipses his untouchability: Culling over one

print January 2020

François Bucher

The Greek word logos—reason, discourse—stands at the core of the Western conception of the world, denoting the rationality through which reality is shaped or perceived. François Bucher’s exhibition “Contact—(cosmic background noise explorer)” welcomed visitors with Logos, 2017—the word spelled out in white neon letters, hanging upside down. One could read the text right side up only through its reflection in a puddle of water: The unlit room where it was displayed had been carefully flooded. The space between the word and its mirrored image, like a gap between dimensions, was the perfect prelude

picks November 13, 2019

Magdalena Fernández

A visit to Magdalena Fernández’s retrospective feels like taking a quiz on modernist abstract art—her works echo that era’s compositions and motifs, summoning such icons as Malevich, Mondrian, Lygia Clark, and Gego. The pieces on display, however, which span the eleven most recent years of Fernández’s career, elude our expectations for appropriation art. Take 1iHO008. Homenaje a Hélio Oiticica (1iHO008. Homage to Hélio Oiticica), 2008, an immersive video installation in which the blue squares and rectangles from said work, projected onto all four of the gallery’s walls, slowly pace around the

print November 2019

“The Gaps of Water: Recent Indigenous Art from Mexico”

Mexico, according to the anthropologist Guillermo Bonfil Batalla, struggles to reconcile the two poles of its identity: Imaginary Mexico, which adheres to the Western project and seeks to propel it, and Deep Mexico, constituted by a resistant social base made up of the peoples who incarnate Mesoamerican civilization. This persistent conflict is reflected in the country’s contradictory attitudes toward the material culture of its indigenous peoples: While pre-Columbian artifacts are cherished as national treasures and exhibited with great fanfare in museums, the contemporary artistic output of

picks June 14, 2019

Cosima von Bonin

Cosima von Bonin, as most familiar with her art already know, works from her bed. From there, she undertakes a collaborative process with craftspeople, modeling artists, musicians, and, in this case, her gallerists to bring her works to fruition. “Shit and Chanel,” her first exhibition in Mexico, could well be the materialization of a collective nightmare: The artist has filled the gallery with plush animal figures in comical situations of entrapment—physical, psychological, or otherwise.

The show takes as its point of departure an anxiety-ridden GIF, in which Daffy Duck tries to avoid being

print Summer 2019

Helen Escobedo

Most narratives of Mexican art from the late 1960s through the early ’80s focus on the collectives known as Los Grupos and describe an almost caricatural display of macho anti-institutionalism and political commitment. These dominant histories overlook the work of contemporaries who shared those groups’ critical views but expressed them with a lighter touch, among them Helen Escobedo (1934–2011). This exhibition, “The Potential of Sculpture,” delicately shattered such historical clichés, bringing together more than seventy newly restored works—maquettes, sculptures, paintings, drawings, and

picks March 25, 2019

Daniel Monroy Cuevas

In the inferno that engulfed Mexico’s National Film Archive in 1982, Daniel Monroy Cuevas has found a fertile context to explore the paradoxical relationship between fire and image-making processes. While his previous work has dealt with the unfolding of the actual conflagration—its beginning behind a screen, which happened to be showing a fire scene, and incineration of most of the archive’s holdings—Monroy Cuevas’s latest exhibition obsesses around the loss of a series of drawings from 1932 by filmmaker Sergei Eisenstein, fated to burn in the same event.

The twenty-nine prints on display

picks February 18, 2019

“Modos de Oír”

Marcel Duchamp’s early-twentieth-century plaint about the deeply retinal nature of art doesn’t seem to resonate in present-day Mexico, whose art scene can feel awash in visuality. Attempting to counter the situation, Laboratorio Arte Alameda and Ex Teresa Arte Actual have conducted a joint survey that engages entirely with sonic phenomena.

“Modos de Oír” (Ways to Listen), which maps the national production of art-and-sound couplings, is vast, embracing sound art, electroacoustic music, sound-activated sculptures and low-tech devices, radio art, historical voice recordings, and more. At Ex Teresa

print January 2019

Lake Verea

Conceived as a long-term inquiry into some of the most highly regarded housing projects in the history of modern architecture, “Paparazza Moderna” is an ongoing photographic archive initiated in 2011 by Lake Verea, an entity composed of the artists Francisca Rivero-Lake Cortina and Carla Verea Hernández. This exhibition, “Paparazza Moderna. Chapter II: Richard Neutra and Rudolf Schindler in California,” focused on images of five houses built in California in the 1930s by the Austrian-born architects Richard J. Neutra and Rudolf M. Schindler.

Lake Verea produced the photographs—displayed here

print Summer 2018

“Archivo(s) Centro SCOP”

What happens to cultural heritage in the aftermath of disaster? The exhibition “Archivo(s) Centro SCOP” reflected on the matter by using the building that houses Mexico City’s Centro Secretaría de Comunicaciones y Obras Públicas (Center for the Ministry of Communications and Public Works), or SCOP, as a case study. Completed in 1954, the edifice became a landmark in Mexican modernism, embodying an idea of public art as entailing the integration of large-scale murals and sculptures into large building complexes dedicated to public service. Gathering documentary material, recent works from five

Fabiola Iza