Mexico City

Héctor Zamora, Movimientos emisores de existencia (Existence-Emitting Movements), 2019. Performance view, Labor, Mexico City, February 5, 2019. Photo: Ramiro Chaves.

Héctor Zamora

LABOR

As objects, the individual pieces in Héctor Zamora’s exhibition “Movimientos emisores de existencia” (Existence-Emitting Movements) were intriguing. Gathered together in a large oblong island at the center of the gallery, they were clay forms that looked like terra-cotta shells but were in fact vases, the kind that many cultures around the world have historically used to store essentials such as water and oil. These vases, however, would never be employed for such purposes. Zamora had 650 of them put on the floor when they were still fresh, unfired clay. He then, in a performance on the opening day, lined up a group of seven women in black tunics and had them step on each vessel. The woomph of air as it was expelled from the vases filled the crowded gallery. The work was said to originate in the artist’s fascination with feminine figures carrying water on their heads. He thinks this

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