2018-04-14 - 2018-05-12
CONDO Mexico City
Taka Ishii Gallery at joségarcía, mx
April 14 - May 12, 2018
joségarcía, mx is pleased to host, within the framework of the first edition of Condo Complex in Mexico City, Tokyo-based gallery Taka Ishii. In the 4 spaces of the gallery, Taka Ishii presents the work of 4 artists: Maria Taniguchi, Cerith Wyn Evans, Mario García Torres and Kunié Sugiura.
Maria Taniguchi was born in the city of Dumaguete, Philippines in 1981. Her series of “Untitled" brick paintings is an ongoing series that had begun in 2008. Each painting consists of seemingly innumerable rectangular cells, each drawn by hand with graphite and full of gray and black tones. The meticulous process creates a subtle but complex pattern on the surface. These paintings develop in various degrees, most of them reach meters in size. The constructive structure embodies the architectural elements, resulting in monumental existences within the space.
Cerith Wyn Evans was born in 1958 in Llanelli, Wales, and currently lives and works in London. He made a series of short and experimental films throughout the 1980s, which he personally knows as 'sculptures'. Since the 1990s his works have employed a variety of media, such as neon, sound, mirrors, and fireworks. Wyn Evans’ works are in the process of connecting to reference sources and the viewer, and often function as catalysts for indication. His works are informed by a diversity of cultural and academic spheres such as literature, philosophy, cinema, music, astronomy and physics. With "Son et lumière ..." (2016) the blinks of the light bulb are synchronized with 3 hours of improvised piano played by the artist. In this work, an idea has several "signifiers". These signifiers always have a small gap between them, which Wyn Evans has materialized through these derivations.
Born in 1975 in Monclova, Mario García Torres is an artist who currently lives in Mexico City. He earned his MFA from the California Institute of the Arts in 2005. In his work, García Torres explores the potential of a different range of media, including photography, film and performance for concerns related to the history and practice of art. conceptual in which there is always a displacement of time or location. In doing so, a new idea of history and reality is derived.
Kunié Sugiura was born in Nagoya in 1942 and currently lives and works in New York. She received her BFA from the School of the Art Institute of Chicago (SAIC) in 1967. Through her works, she captures light, time, the transience of nature and his memory. The result is an almost contradictory work that takes advantage of the tensions between the concrete and the abstract, while standing between the improvised and the constructed. Sugiura's works seek to question the 'object' and its abstraction as captured in the context of the photographic image. The influences of traditional Japanese aesthetics, like the notions of ephemeral and transitory, also seem to resonate within Sugiura's works.
2018-02-05 - 2018-03-31
The copper sheets are placed by the margins.
By the windows, the doors and the corners.
The plane lifts off the wall. The surface gets a backside. Volume.
And allows you to get underneath. A grip. To open and enter.
The object is here as a recurring event. Something that has happened.
The continuing hammering. The repetitive weaving.
And something that keeps happening. Initiating function or behaviour.
As an invitation. A door handle you push again and again.
Or as a limitation. A rise in the ground that prevents you from passing.
Prevents anything else than the surface tension from taking place there.
The materials transmit. Copper conducts heat.
The concrete takes on the integrity of the copper sheet.
The time spent weaving extends to the sculptures as tenderness.
As duration. When it rains the water runs down the slope.
It is gathered in the lower parts until it runs over and off the block.
2017-12-16 - 2018-03-30
joségarcia ,mx is pleased to present José León Cerrillo’s solo project in Mérida and his first outdoor sculpture installation with the gallery in this site-specific intervention. Taking its title, Futura from a font based on geometric shapes, this sans-serif typeface was originally designed by Paul Renner for the New Frankfurt-project for social housing in 1927. While becoming representative of visual elements of the Bauhaus style, this typography also became a form of communication in and of itself.
The installation explores the formal quality of typeface and fonts and the potential for the two-dimensional to become sculpture through a specific arrangement of elements that have been used recurrently by the artist throughout his practice. Even more so, this new work by José León Cerrillo analyzes typography as container, opening up to questions such as: how does one create a series of conditions for a sculpture?
The elements that compose the work are screen printed glass, thin metal structures painted in a very precise pallet of colors, as well as the use of letters and numbers which are symmetrical and can be read the same as you move around them throughout the space. There are also suggestions of the human body with the presence of arms, hands and the artist’s own profile, a nod to le Corbusier’s Modulor which was an anthropometric scale of proportions based on the height of a man with his arm raised.
The four compositions which inhabit the gallery space also have characteristics of stage design for theatre in its use of fragmented or partial architecture that suggests a complete or finished construction. The sculptural elements, some of which are leaning on the concrete walls, unfixed or unfastened, offer the possibility to be moved as props. This adds the possibility of thinking of sculpture also as drawing; perceiving what is in essence a spatial quality, as a graphic element. An environment that could remind us of an open air Merzbau, in constant flux and reconfiguration, is of course also reminiscent of concrete poetry, based on the visual relations generated between elements and their own relationship within the space in which they are themselves contained.
2017-10-14 - 2017-12-16
It was 1979 when anthropologist Walter F. Morris Jr. published A catalog of textiles and folkart of Chiapas, an extensive inventory of three fabric collections, patterns and other regional objects. In this self-edited volume black&white, almost abstract images, which reduce the cataloged artifacts to a series of contrasting planes, appear along with greatly detailed descriptive texts. Few Augusts ago,on a cloudy day, a copy of the book fell into the hands of Rometti Costales, who could not keep from intervening in some way.Through dissembling, quartering, and reordering the content, they edit images and modify descriptions, overshadowing the language and bringing it closer to veiled photographs. The result is the facsimile Blue has run*, a weird compendium of image and word, which converts into a ready to act contraption. Rumpite libros ne corda vestra rumpantur (Break the books before they break your hearts )chants an alchemical dictum. From this facsimile emerges an ensemble of loose phrases without ostensible meaning, which are the raw material of this project.These are subtractions of subtractions, words losing their original function and not describing the world anymore. Now they are free to do what they want. And under certain circumstances, as J.L.Austin** stated, they are capable to create reality, to act beyond the language. Thus, the performative elocution arises. These eighty phrases are hence a starting point, a preamble. It’s on the edge, a spell of initiation , revealing a previously nonexistent reality
-or that which we were not able to see-. Out of each one’s autonomy emerges a new oeuvre, which, beyond illustrating the words, gives shape to works. The signs together with other components constitute the material part of each work. They form a bridge between the palpable and the impalpable. Movements, forms and trajectories; bronze, wax, cement, and palm. If usually the title of an artwork comes into existence after the artwork itself -describes, complements, plays around- , here the phrases are titles of something that potentially exists, and at the same time are integral part of that something. Bronze gazes and concrete bites observe us from the walls; crimped palm leaf lovers lie down on the floor; traces of frozen gold trajectories engraved on paper; columns of wax and concrete support the firmament; signs scraped over desert varnish observe us while we observe them. In the same way as the words eliminate themselves provoking the rise of the void on a page, matter is handled through a collage, performing incisions, subtractions, and juxtapositions of elements of diverse nature. The works emerge from incantation and reunite in space shaping an aleatory stage. Its origin as a descriptive language in anthropological context, as an attempt to collect and explain a piece of the world,makes way for the uncertain, sliding doubt from possibility - and necessity- to order and understand everything around us. In this way these craft objects from Chiapas establish relations with other.
ones, which are materialising themselves now, drawing an extraneous meditative space between them, and allowing words, materials, gestures or time shape the unknown.
Julia Rometti (France, 1975) and Víctor Costales (Belarus, 1974) live in Mexico City, place from where they develop an artistic practice that finds in nature a space for political inscription. Through diverse media that feed on collage and the readymade, Rometti Costales work with diverse materials that directly relate, in their essence, to our relationship with the natural. Deploying a cosmogony that stands halfway through what is real and what is fiction, they address ontological and political positions that through their diversity, they are capable of bringing us closer to a magical anarchism in which the human is no longer the center of anything, and where an uncertain and ungovernable force emerges as inapelable.
* Blue has Run is an modified facsimile of A catalog of textiles and folkart of Chiapa, which originally was printed in 100 copies , most of were lost or dispersed through various specialized libraries. The catalogue lists elements from three collections of patterns from south Mexico, created with help of Walter F. Morris in the middle sixties. The DIY quality and meticulously precise descriptions take the content of the catalogue to areas closer to poetry, moving it away from its original purpose. The publication followed the exhibition Azul Jacinto Marino at Center of Contemporary Art Synagogue of Delme.
** In 1962 English philosopher and semiologist J.L. Austin published How to Do Things with Words, in which he proposes the concept of performative utterance, a form of expression where the words enact rather than describe. Austin, J. L:How to Do Things with Words, second edition, ed. Marina Sbisa and J.O.Urmson, Cambridge : William James Lectures, 1975
2017-06-05 - 2017-09-16
The two chapters of François Bucher’s exhibition at joségarcía, mx — mérida belong to the series Contact, an ongoing body of works inspired on Carl Sagan’s famous novel and on the cult film that goes by the same name. The title for the show comes from the utterance of the novel’s heroine, Ellie, after she has gone through a wormhole that led her to the star Vega on her path to her appointment with the “Absolute other”. The novel tells the story of an extraterrestrial intelligence that has established contact with the human race, Ellie has been chosen as our civilization’s representative. Just before the encounter, she pronounces these words: Some celestial event. No words to describe it. They should have sent a poet.
2017-05-13 - 2017-06-24
Tania Pérez Córdova
“… there, but empty” is a quote from American writer and translator Lydia Davis and it is the title of an exhibition which is somehow an articulation of quotes, of fragments that point at the existence of something else which that is concealed. In “The Center of the Story” by Davis, a writer finding herself at the end of a story, she realizes that she couldn’t end… While we recognize something suspended, yet unidentifiable in Caroline Achaintre’s work, David Bestué builds a metaphorical body of bone and blood in his. Nina Beier produces fragments of an imagined form, symbol of a magnanimous rhetoric reduced to a few pieces of stone. François Bucher’s images link different sensitive dimensions that point at a fragment that contains in itself the order of the whole, like the images of the volcano Popocatépetl by Tania Pérez Córdova show a primordial underground order that we are not capable of seeing. Rometti Costales with heterogenous fragments of complex universes enclosed in display devises that are reflected in a geological time turned into architecture, a floating image, almost fleeting. Wilson Díaz builds small autonomous moments that are nonetheless embedded in complex sociopolitical contexts. A body formed by what conceals it in Marie Lund’s work. The assemblage of elements that coexist in a strange tension, without achieving stability,something flowing out of sight, “a form closed but broken” in June Crespo’s work. Text :Catalina Lozano
2017-02-19 - 2017-02-25
Jose Maria Vertiz 491, Col. Narvarte. Del. Benito Juarez
Retrospective is a project by Nina Beier exhibited at a marketing show-home in a new development. Retrospective interweaves different works into the static ready-made apartment, mirroring acrisis of representation in a place between real and mediated where the conventional hierarchies of figure and ground, content and frame, thing and sign, are overturned. This crisis of representation makes the site of meaning itself elusive: it is somewhere between, a kind of relationship, unbounded within an expanding field, where it exists among the connections between individual and collective aesthetic experience, commercialised image proliferation, and tightly focused representations of a cultural unconscious. It encodes and decodes the functions of the image in mass media, advertising, and art, recognizing that there is always so much (too much?) in play. It’s a sociology of images that takes a gamble by pushing both art and the viewer to a place where their usual trigger-and response mechanisms are cast into doubt. A paradigmatic example is the dog that lies still on command in Tragedy (2011), offering us an intimation of death, a repeatable resurrection, a reason for hope, an object of study, a great Instagram shot, a nature morte, a memento mori, a trompe l’oeil, a tragedy and a comedy, an image and an object, a paradigmatic “good dog” on an expensive carpet. It is left open how all these facets of the work relate. This kind of simultaneous multiplicity of image-codes is crucial
to the functioning of Beier’s work. Bringing into view the assumptions we already make when we look atimages – and thus offering them up, as an object of reflection and engagement – is one explanation for the variety of responses to her work in this book. Her art taps into both the surface and the depths of the collective imaginary, leaving room for ideas and arguments coming from multiple directions, being at its core as adaptable as the commercial images that inform its aesthetics and are often its subject.Beier makes work that deals in the tropes of the image-world, from art history to stock images. The cornucopia, replayed in the coffee cups with beans pouring out of them, was once a sign of wealth and abundance yet now comes to represent loss and waste – and is hence tagged as such in image banks. Digestion becomes regurgitation; scarcity becomes minimalism; object becomes image. But there is always continuity, through whatever warped paths – the symbol remains, in always different forms, with always different meanings, but, as Beier has noted, inexhaustible even as it slips into different registers, received and passed on by the silently changing range of feeling and thought available to be attached to an image/object/form/idea at each embedded moment, coded through matrices of gender, labour, value, commerce, the mythologies of advertising, the aura of art and the signification of its material base.
2017-02-10 - 2017-04-22
Dream of a Broken Memory is a narrative continuation of the artist’s latest project at Museum Tamayo - Plumed Serpent and Other Parties. The title of this show is also included on one of the paintings. Other one announces a film“Dreaming on a dream” which artist has been developing since 2006. The five large-format works presented at the gallery have an ominous presence of a recurring dream – with the territory of Mexico in flames repeated on all. These maps have no traces of human presence or urban sprawl. In this apocalyptical vision the only residuals of human existence are fires, distributed around the whole country. These fires produce heavy smoke, covering the northern part of American continent. The lost territories are not visible anymore, the future of North America and it's relationship with its Southern Neighbours seems to be shrouded in a dense fog. However, Sarabia's message is of importance, asking us to look inwards.Within this dystopian dream another dream occurs: rose garlands and quetzals, colorful birds under the threat of extinction, appear out of nowhere, bringing hope to a hopeless situation.
2016-12-01 - 2017-02-10
The Mérida-based Cuban-American artist Jorge Pardo investigates the intersection of contemporary painting, design, sculpture, and architecture. He has created relaxing environments that include decorative artefacts and home furnishings designed or selected by himself, turning his own house into a museum.Jorge Padro is the first local artist invited to joségarcía ,mx, initiating a new direction in the gallery program. For this exceptional show he presented a selection of colourful large scale paintings, which brilliant palette merges the site-specific luminosity and photographic color schemes. Unlike the usual paintings this particular series is destined for an outdoor presentation. Each painting functions also as an exterior led lighting.All works explores memories, taking inspiration from typical family photos. A mysterious round object, a hybrid eyeball-sun accompany each scene. At night it illuminates the picture,turning the space into dream-like arcane garden.
2016-10-08 - 2016-10-22
For his first project at joségarcía ,mx Benoît Maire gives continuity to his research on archetypical forms and shapes, such as those of universally used tables and chairs, in the new context of the gallery's particular openness to nature.The title of the project, Castled, gives us a clue to novel approach to working the region - similar to the game of building a sandcastle and playfully trying to shape this fickle material into architecture and the fragility of this endeavor. As such, the project exists as a balancing game between the use of local materials, the collaboration with native craftsmen, the extreme climate conditions and the orientation and lighting of the space. The artist explores and articulates on one hand – the logical, precise and planned designs devised by him, such as the circles and straight angles of these sculptures, against the unruly, wild backdrop that is nature. But what results is no confrontation - rather, the result is a balanced, symbiotic relationship between what is manmade and what is natural; the artist likes to think of this as a way of framing: the sculptural elements act as a frame of nature and vice versa. As one enters the space, one encounters pukté-timber chairs that face one of the most prominent features of the gallery space – a solitary tall Guaya tree. Here a poetic exchange takes place, as one contemplates the living wood while resting on the cut and dead timber.
A brass structure emphasizes this dissimilitude, of the clean-cut geometries framing the whimsical vegetation. Finally, a Brass abstraction of a mask, which during the day reflects the light of the sun, at night emits its own energy, harnessed by solar panels – again setting in motion a game of dualities.
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