Jessica Berlanga Taylor

  • Gilberto Esparza and Marcela Armas

    Gilberto Esparza and Marcela Armas are Mexican artists who operate both collaboratively and individually. They use sound as a basis for site-specific projects, urban interventions, videos, and documents. In doing so, they deal directly with technological issues specific to the present, including experimental technologies such as robotics. Their artistic practice considers high- and low-tech materials left over from an ever-expanding capitalist system that depends on the brief use and constant disposal of objects in order to subsist. Cables, radios, engines, lightbulbs, oil, steel, rubber tires,

  • “Los de arriba y los de abajo”

    Los de arriba y los de abajo” (Those Above and Those Below) reopened the Sala de Arte Público Siqueiros after six months of renovations with work by thirteen artists of various ages and diverse origins. The building, once the home and studio of David Alfaro Siqueiros, one of Mexico’s most important artists, holds his murals, many of which have been temporarily removed for restoration; in this sense, the museum was in a strange, unstable state. In the absence of Siqueiros’s murals, the pieces chosen by Venezuelan artist and curator Javier Téllez entered into a different kind of dialogue with

  • Dr. Lakra

    Eight pictures welcomed the visitor into this exhibition of the work of Jerónimo López, better known as Dr. Lakra. Black-and-white vintage pinup prints depicted nudes striking sexy poses without losing their naive, angelic faces. The artist used black pigment to draw over these images, rendering fantastic figures that interact with the women: Devilish male faces, birds, piglike dogs, skeletons, snakes, and a furry penis with hands and feet enter, coil, bite, touch, and play with the sacred, virginal skin of these goddesses. The explosive yet intimate representations of desire and longing contrasted

  • Sofía Táboas

    Sofía Táboas threw a stone into a lake. She then rowed a tiny boat to where the stone had landed and sunk, placing a buoy there to mark the spot; she threw a second stone and again directed the boat to where it landed. She repeated this sequence, five throws altogether, on one of the lakes in the emblematic and historical Chapultepec Park, the largest park in Mexico City.

    Using a simple yet revealing gesture, one we have probably all made at some point—whether skipping pebbles across water, throwing coins into a fountain to make a wish, or playing marbles on the pavement—Táboas traced a mental

  • “Chronicles of Absence”

    Crónicas de la ausencia (Chronicles of Absence) presents works by Rosângela Rennó and Óscar Muñoz, artists (from Brazil and Columbia, respectively) who appropriate images from newspapers, archives, photography studios, and albums. Most of the works shown (installation, photography, and video) have an open, transparent quality to them. This may be due to the fact that the artists lend a material quality to everyday relationships, gestures, attitudes, and social dynamics without worrying about historical accuracy. They are, rather, concerned with making visible the general desire to register and

  • Mario García Torres

    Mario García Torres makes work that reenacts peak moments of post-war Conceptual art, but whose organizing principles are wholly relevant to artistic production today: the rationalization of processes; an emphasis on language and on reading versus visual experience; an economy of media and colors; and mathematical concepts such as permutation and repetition. His videos, films, installations, and photographs reinterpret works from the 1960s and ’70s by Sol LeWitt, Robert Barry, and John Baldessari, among others, creating a personal construal of Conceptual art and the position of the artist as

  • Moris

    Moris (Israel Meza Moreno) is a thirty-year-old Mexican artist whose work rapidly caught the eye of gallerists, collectors, and the general public. Un animal muere porque otro tiene hambre (An animal dies because another is hungry), 2008, his baroque, socially charged installation at El Eco Experimental Museum, contrasted sharply with the modernist aesthetic philosophy of the museum’s designer (Mathias Goeritz [1915–1990]), embodied in the building’s stark lines and monastic simplicity. Moris uses a repertoire of materials found along the sprawling streets of Mexico City (cardboard boxes, tin

  • Felipe Ehrenberg

    Encompassing fifty years of production, “Manchuria: Peripheral Vision” is the first formal retrospective of Felipe Ehrenberg. The artist’s participation in Mexican art and culture during the late 1960s and ’70s would prove critical in a country whose restrictions on artists and intellectuals, institutional inefficiency, disinterest, poor communication with the international art world, and political violence (especially the Tlatelolco massacre following large student demonstrations in October 1968 in Mexico City) led Ehrenberg to establish independence from any system or institution and move with

  • Minerva Cuevas

    For her most recent exhibition in her hometown, “La venganza del elefante” (The Elephant’s Revenge), Minerva Cuevas took on the role of a nineteenth-century explorer; she sought out and presented objects and images, some from that period, that possess an aesthetic dictated by their political and social contents—history’s material production. Cuevas considers herself an activist, and her art deals with issues such as ecological disaster, unfair trade and globalization, and humankind’s desire to dominate nature. The body of work that she presented in Kurimanzutto’s warehouse space was diverse and