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Miguel Calderón, Caída libre (Free Fall), 2017, falconry perches and the video Camaleón (Chameleon), 2016 (color, sound, 26 minutes 30 seconds), dimensions variable. Photo: Omar Luis Olguin.

Miguel Calderón

kurimanzutto

Miguel Calderón, Caída libre (Free Fall), 2017, falconry perches and the video Camaleón (Chameleon), 2016 (color, sound, 26 minutes 30 seconds), dimensions variable. Photo: Omar Luis Olguin.

Miguel Calderón’s first solo show in Mexico in eight years was met with both rumor and expectation. Some people thought he had dropped out of the art world and was focusing on music, films, or something else. His feature film, Zeus (2016), debuted at the Morelia Film Festival last year and touches on subject matter similar to that evoked by this exhibition, “Caída libre” (Free Fall), hosted by kurimanzutto off-site at a grimy warehouse space that Calderón once used as a studio. Not only did exhibition confirm Calderón’s presence in the Mexican art scene, it revealed how his work has matured while retaining its essential rawness.

There was no whiff here of the scandal or provocation that had previously earned Calderón a reputation as an enfant terrible. Now a more meditative aspect came to the fore. The central piece was a large installation, Caída libre, 2017, which included a

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