Layla Fassa

  • View of “Radamés ‘Juni’ Figueroa,” 2017. Photo: Ramiro Chavez.

    Radamés “Juni” Figueroa

    Viewers entering Radamés “Juni” Figueroa’s exhibition “Sabroso Veneno” (Sweet Poison) might have wondered if they’d walked into a local cantina by mistake. The room was set up with eight small square tables, each draped in a pink tablecloth embroidered with the exhibition’s name. Folding metal chairs bore the logo of Indio, a popular Mexican beer. To the right, a stage, also painted pink (with accents of pale blue and yellow) jutted out from the wall, rising a foot or so from the ground. Two wide pedestals flanking the stage might have served to display sculpture—or performing bodies.


  • Diego Pérez, Tlapucata I–IV, 2017, copper, brass, iron, dimensions variable.

    Diego Pérez

    “Water is stronger than rock,” wrote Hermann Hesse in his 1922 novel Siddhartha. This maxim suits the art of Diego Pérez, which spans photography, sculpture, and drawing, and it’s the title of one of the works in the Mexican artist’s recent exhibition, “The future belongs to Philophotology,” curated by Octavio Avendaño. In this piece, Pérez has inscribed Hesse’s words in jauntily handwritten letters using water on a large piece of paper blackened with graphite; below this framed drawing sits a sizable volcanic rock. There is lighthearted humor in this literal illustration of Hesse’s phrase.