Critics’ Picks

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

Mexico City

Jorge Satorre

Gral. F. Ramirez 5 Daniel Garza, Del. Miguel Hidalgo
April 21 - June 29

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 from the garden, such as leaves and flowers, as well as paw prints from the gallerist’s dogs. The ornamentally decorated hole also served as a mold to produce a massive concrete sculpture, which is presented as the central work in the exhibition space. A rig that was used to bring in the sculpture remains in the installation, disclosing the cast’s spatial transfer and connecting the two spaces and their contexts.

In addition, Satorre offers a series of pencil drawings. These suggest chronological episodes: from the proposal of the show to milestones of its production process, which all serve as a setting for the artist’s own imagined theater, interweaving the real with the fictitious while creating Dionysian-like scenes of social interactions that seem to defy a purposeful and target-oriented task (for instance, workers are shown in a foundry while being absorbed in intimate, erotic intermezzi). Like in his previous works, Satorre traces the past by making visible multiple characters and narratives that are considered insignificant for their impact on the prevalent historiography.