Marcela Quiroz

  • Luis Felipe Ortega, Horizonte (Horizon), 2013, graphite on paper, 12 x 23 1/2".
    picks July 24, 2013

    Luis Felipe Ortega

    Anyone who’s spent time with Luis Felipe Ortega’s videos knows that behind his images lie fragmented, intimate stories imbued with a complex sense of extended spatial time. Poet Tomás Segovia might have described that sense already: “Nothing, when in its place, is ugly / So self-assured, this light / comes in through the window / To sanction this place and how it is arranged / so unabashedly entrenched. / And, in my silence / I let myself be blessed by the joy / Admiring with no residue / the place and time of things / Rather than things in themselves.”

    In this exhibition, “Anotaciones para una

  • Laura Lima, Homem=carne/Mulher=carne—Puxador Paisagem (Man=Flesh/Woman=Flesh—Landscape Puller) (detail), 1999/2013, nylon, dimensions variable.

    Laura Lima

    Homem=carne/Mulher=carne—Puxador Paisagem (Man=Flesh/ Woman=Flesh—Landscape Puller), 1999/2013, an installation/performance by Brazilian artist Laura Lima, was recently shown at the Museo Universitario de Arte Contemporâneo. It incorporated a motif that the artist has been working with for many years, most recently at the Biennale de Lyon in 2011. There, in Homem=carne/Mulher=carne— Puxador (Pilares) (Man=Flesh/Woman=Flesh—Puller [Pillars]), 1998/2011, a naked man with two straps on his shoulders pulled against a complicated network of long black belts wrapped around the

  • Magui Peredo and Salvador Macías, untitled, 2013, mixed media. Installation view, Museo Experimental El Eco, Mexico City. Photo: Alex Dorfsman.
    interviews April 17, 2013

    Estudio Macías Peredo

    Guadalajara, Mexico–based architects Magui Peredo and Salvador Macías of Estudio Macías Peredo recently won a competition for the Pabellón Eco 2013 at the Museo Experimental El Eco in Mexico City. The spatial and aesthetic configuration of the winning entry not only expands the concept of what a pavilion could be, but also reevaluates the function of the museum’s courtyard. Here Peredo and Macías speak about their intentions for this work and their interest in architectural integration. The pavilion is on view until May 26, 2013.

    WE’VE ULTIMATELY UNDERSTOOD this proposal as the placement of

  • View of “Las apariencias engañan: Los vestidos de Frida Kahlo” (Appearances Are Deceiving: The Dresses of Frida Kahlo), 2013.
    picks March 06, 2013

    “Las apariencias engañan: los vestidos de Frida Kahlo”

    Given the never-ending interest in Mexican painter Frida Kahlo and her work, it would seem almost impossible to come up with anything new and meaningful to add to the interpretation of her oeuvre. On the other hand, devising an exhibition that focuses exclusively on the striking wardrobe that formed the basis for her exotic image, while disregarding her highly recognized pictorial work, would almost seem an act of curatorial suicide. Nonetheless, the exhibition “Las apariencias engañan: Los vestidos de Frida Kahlo” (Appearances Are Deceiving: The Dresses of Frida Kahlo), curated by Circe

  • View of “El instinto olvidado,” 2013. Foreground: Francisco Tropa, Quad, 2008. Background: William Anastasi, untitled, 2010.
    picks February 10, 2013

    “El instinto olvidado”

    El instinto olvidado” (The Forgotten Instinct) is an exhibition co-organized by the Parisian dealer Jocelyn Wolff and LABOR’s Pamela Echeverría. For the first part of the show, Wolff has installed a series of works in Mexico City, and this June, Echeverría will install a show at Wolff’s gallery. The current gathering is powerful and bold, tracing delicate and suggestive links between the work of five artists from different nations and generations: William Anastasi, Guillaume Leblon, Hans Schabus, Francisco Tropa, and Franz Erhard Walther. The show most successfully mines the relationship between

  • Tania Candiani, Órgano (Organ), 2012, mixed media, dimensions variable.
    picks December 18, 2012

    Tania Candiani

    Tania Candiani’s first solo museum show coincides with the reopening of the Laboratorio Arte Alameda, an old San Diego convent that had been closed for in-depth restorations over the past two years. Her installations, conceived over that two-year period, address the very process (and limits) of restoration in the realm of language: in writing, listening, and translation exercises involving the sounds—both “readable” and “writable” in a Barthesian sense—that survive in the written word.

    Two of these six interdisciplinary and multimedia works stand out due to their expressive and conceptual coherence.

  • Claudia Hans, Cuando una persona muere (When Somebody Dies), 2011, ink-jet print, 18 x 20”.
    picks October 03, 2012

    Claudia Hans

    Cuando una persona muere…” (When Somebody Dies), 2011, is the title of one of the three photographic projects in Claudia Hans’s latest solo exhibition, “The End.” The award-winning series “Morido,” 2010, and “Imaginarios de Dios” (Imagining God), 2012, help to consolidate the show’s aesthetic and thematic texture. The three featured series consist of seemingly innocent and playful small-format black-and-white portraits of children responding to questions and interacting with situations posed by Hans concerning God and death. For example, in “Cuando una persona muere…,” she asked children to