Mathew Hale works with collages, projections, sculptures, installations, and for the first time for his first solo show at JGMX, with painting.His multi-medium works freely use multiple sources such as posters, books or book pages, magazines, newspapers clippings in different languages, and photographs. In his collages he may also add words, speech bubbles and writings, mixing dates or bringing apparently unrelated events closer, and often mixing the private and the public. Images can be repeated in different works and take new meanings.
The use of many mediums reveals how his work revolved around a process and methodology more than a medium. It can be seen as an attempt to manage meanings while letting the viewer free to add his/her own knowledge and associations of ideas.
For “NO RECTO || no verso” he sets up similar working processes and presents a double slide projection, which gives the title to the show, along with two panels work as well as a collage, a painting and a series of sculptures. If every one of the works is autonomous, they all relate to one another from different perspectives, in non ending layers of meanings and new meanings.
For example, the slide projection features several sequences ranging from a scene taken from the movie “American Gigolo” showing Richard Gere hastily examining the back side of a David Hockney painting to the both sides of the wall closing the crypt were Marilyn Monroe is resting today. The other side of the cemetery is a car park where the artist came on a regular basis to take photographs, while adding a price tag on the picture to remember the date. The other side of the price tag became a blank canvas that Hale used to apply paint to. What was a memory aid became a work in itself and some of them are mounted on 3D copy of one of the branches of the rosebush standing by the grave of the actress. Another price tag turned into a blown up yellow leather larger version. The voice over running during the slide projection is telling the suprematist manifesto by Kazimir Malevich. A painting by the later is reproduced in another double side collage hanging in another room…
josegarcia, mx is pleased to present Deshuesadero, el paraíso Zimatlán, a project by Edgardo Aragón at Calle Dresde 2 in conjunction with American Gun, presented at Calle General Prim 30. Both exhibitions take place during Gallery Weekend Mexico City.
Deshuesadero, el paraíso Zimatlán, involves an installation of a series of abstract paintings made of iron oxide. This pigment was made from scrap auto parts that the artist found in junkyards or auto-body shops located in the area known as “El Paraiso” in Zimatlán, Oaxaca.
These monochromatic paintings, whose format makes direct and formal reference to specific parts of cars – such as doors, windows or the hood – recreate an abstract representation of the landscape of “El Paraiso”. This is one of many places where cars have been left behind by mexican immigrants in the United States, who in search of the American Dream, invest their little savings on cars whose short life ends at this type of junkyards.
With this work Aragon continues his research on economic, cultural and social exchanges between Mexico and the United States. Deshuesadero, el paraíso Zimatlán is a complex example of the relationship between the two nations, and the false notion of freedom and wealth that Mexico has adopted, over the years, from the neighboring country without much reflection.
On the other hand, Deshuesadero seeks to rethink and redefine the landscape as a genre: the walls of the exhibition space have been painted light blue, with direct reference to both the sky as common term and Heaven (El Paraiso), with its religious connotations.This consequently allows us to observe the ecological impact of different types exchange between Mexico and the United States. The landscape, which has been a key element in Aragon’s work, functions as vehicle of analysis for stories of injustice and violent events that involve these territories.
josegarcia, mx is pleased to present American Gun, a project by Edgardo Aragón for Gallery Weekend and presented at General Prim 30. American Gun brings together different projects where the act of seeing interweaves different stories around Edgardo Aragón’s ongoing interest to address issues of corruption, violence, social conditions and current political problems.
Upon entering the space, the viewer is confronted with an almost absolute darkness. Gradually, one begins to get used to the low light emitted by two red bulbs at the end of the space, below these, two trays contain photographs, which are still developing. In one image, we see horses seized in the war against drug trafficking. In a second, the image of the Mexican flag lost in a wooded setting. Both images in black & white are degrading due to light that viewers let into space as they enter. This work is titled Pura Sangre (Pure Blood), a pun that refers both to the breed of the horses as well as an image of the current political landscape.

Adjacent to this space are two more rooms: the first shows Verde Militar (Military Green),, a series of 12 abstract paintings made with chlorophyll of plants which Aragon took from the ground cover of forests in Oaxaca, a natural landscape which served in the past as military training ground. With this series, Edgardo to addresses issues of survival; both in hunting and war – The human eye was able to distinguish many shades of green thanks to our evolution in the woods hunting and surviving predators; on the other side is the military uniform color for camouflage in the jungle. With Green Military, at ground level, Aragon aims to train the eye again not only to distinguish variants in natural pigments, but also as a metaphor for our blindness to glimpse the current problems of our country.

Also in this room Baño Oro, a small canvas gold leaf installed in space by way of a religious altar is presented. This work, too abstract, serves as synonymous with the worship of wealth and points to one of the strategies used by the Mexican army to try to bring down the Zetas: the systematic destruction of altars to the Santa Muerte that were found in his military campaign . Gold leaf makes the light reflected with great intensity and, in contrast to the attention demanded paints green eye immediately before, this little work does the opposite, upset with his strident brightness.
In the last room Ley Fuga, short video where a man and shoot a gun pointing to a small raft which was wearing his own shirt is projected. Gesture replicates common practice during the Porfiriato where those executed were given the opportunity to escape if the aim of the executor failed, something unlikely, but without denying them a momentary illusion of freedom.
“Beyond Lawn and Order”, an exhibition that explores two films, which revolve around the theme of conflict, by TV director, documentary maker and screenwriter Jef Cornelis (1941). Throughout these films, the director aims to provoke artists into revealing both their personal and their professional conflicts. The documentary LITTLE SPARTA, et in Arcadia ego revolves around Ian 5 Hamilton Finlay (1925-2006), sculptor, amateur gardener and concrete poet, and his garden Little Sparta. The second movie consists of an interview, conducted by Cornelis, with artist Daniel Buren alongside his piece Travail in situ.
In 1971, Diane Waldman, the curator of the Guggenheim Museum, allied to the artists Donald Judd and Dan Flavin, boy Sixth International Exposition. That same year, Buren was invited for the second time to the individual exposition at Wide White Space Gallery in Antwerp, Belgium, where he presented Travail in situ. Located in the exterior area of the Belgian gallery, the expo- sition consisted of a single piece, which the artist had originally devised for the Guggenheim.
The five minute black-and-white film begins with a shot of who interrogates Buren: “You always do the same thing, how does this work constitute a break? Do you believe in the evolu- tion or progress of an oeuvre, or of art?” Adés’ questions inten- tionally, though not literally, gesture at the media event that brought about the expulsion of Buren from the Guggenheim.
The interview is one of the videos Cornelis carried out be- tween 1971 and 1973, which were produced for the TV program Zoeklicht op de culturele (1968-1993). Consisting of interviews with famous artists filmed beside their pieces or in iconic expositions, these videos are shot in single, long takes where the artist re- mains static. Cornelis used this as a strategy for his subjects to act naturally and in order to achieve a conversational exchange without moving the camera.
During the shooting of LITTLE SPARTA, et in Arcadia ego, Cornelis provoked Finlay, which brought about the expulsion of the director and his film crew from the garden. Finlay sued the TV network due to the aggressive techniques employed by Cornelis to question him and because, in the video, Cornelis sug- gested Finlay ́s fascination with Nazism. Henceforth, the docu- mentary was censored and it was never transmitted.
The exposition establishes a dialogue between Finlay and his garden and shows how the latter simultaneously constitutes a space of exile and one of artistic creation, where language and ideas are organized. From the shelter of his garden, he launched Wild Hawthorn Press, which produces poem-postcards, litho- graphs and invitations. By venturing into these new forms, Finlay extended his interest for concrete poetry: he searched for new methods of composition, typography and order of words. The exhibition questions if the garden can become a page out- side the text, a space in continuous state of creative revolution.
Beyond Lawn and Order establishes a dialogue between con- temporary artists and archived documents to reflect, from a met- aphorical standpoint, on the radical ideas of Cornelis’s cine- matographic work. The documentary explores the artist’s use of television and radio to reflect the clash between the postmodern world and contemporary art.

On April 6, 1971, the United States Table Tennis team, while in Japan for the 31st World Championship, received an invitation to visit the People’s Republic of China. This inconspicuous event proved to be critical in opening a dialog between the two countries, which had broken their links since the Communist takeover in 1949. It would mark the first time an American organization stepped on Chinese soil in 22 years, paving the way for the historic visit by President Richard Nixon the year after.

This episode forms a starting point for Gabriele De Santis’ first solo exhibition in Mexico, presented at joségarcía ,mx. A group of diverse players, animate and inanimate, are juxtaposed in a friendly match: Harlequins and bicycles, matcha tea powder and ping pong, water and words, amongst others, are all set in tongue and cheek dialogue and orchestrated in a lighthearted dance of diplomacy.

Upon entering the space, the visitor encounters a performer in a harlequin dress. This traditional character from the commedia dell’arte holds a bicycle while he divides his attention between contemplating a small painted portrait of a harlequin holding a bicycle and his own reflection in a mirror. An infinite image in loop which bounces back and forth from being static to being in motion, raises the old question: Which came first – the performer or the painting?

Although this stock character usually references humor and sarcasm, there is no apparent joy here.This game of duality, between what is real and what is a representation, as well as between the immediate against the timeless, is tested yet again in the De Santi’s marble works. Taking hundreds of thousands of years to form, the artist juxtaposes this geological wonder and majestic material rooted culturally in sculpture and architecture of the antiquity by partly masking it with a simple checkered rhomboid pattern like the one found on the harlequin’s costume. Here, the viewer’s gaze can rhythmically bounce from background to foreground, highlighting the material’s grain and color by contrasting it against the flat painted surfaces. The exterior and interior spaces are also in question with the cherry tree inside the gallery and the photograph of table tennis champion Wang Hao on the outside of the buildingA ping pong table is covered with Matcha tea powder, which takes its deep-green color by growing in the shade and its powdery texture by being dried under sun light.

This tea-cloaked readymade evokes on one hand the traditional nature of the tea ceremony, while also its current status as a consumer trend. In much of De Santi’s work, movement and motion are an important part of his practice, and, while keeping a modest Color Field Painting stillness in the exhibition, the matcha table also hints to the energy and stamina the drink produces along with the hectic jerks of a fast paced ping pong match between professional players.

Two neon sculptures perform a game of visual puns, chiming poetically once its gaseous materiality becomes luminous by being set in motion. Here, a successions of concepts are thrown to the viewer, who by looking a second time, will uncover the different paths the artists has chosen to express one sole idea.

Gabriele De Santis (1983) lives and works in Rome, Italy. Recent solo and group shows include Depart Foundation LA, Pompidou in Paris, Macro in Rome, Matedero in Madrid, Nomas Foundation in Rome, Mostyn in Llianduno and CAC Vilnius.

The Solaris ocean tried to respond to the communication attempts made by humans stealing images from their psyche and embodying those present-future-past shadows as if they were real.
During the short Solarism season, the diagonal of the shadow on the western wall slid unnoticed towards the eastern wall and began to creep slowly towards north. The dark triangle expanded over the space’s skin – an uneven mix of white cement, sakabeh stones’ dust and Poxoy and Chukum trees bark – as the sun got closer to the horizon. The first shadow-tattoos began their wild dance, while the afternoon wind gusts and the tree tops orchestrated the ever-changing rhythms dropped against the wall’s surface.
For some brief minutes the long deep rectangle got covered with a “total sheer” shade.
Later on, the dancing tattoos will sink under the heavy horizontal shadow projected by the opposite wall, as it will climb up at the same pace of the disappearing sun. Meanwhile something started to flicker over the southern wall, barely visible spots of light. As the shadows got thicker, the quivering beams gained in definition, revealing to be exactly the same shadow-tattoos as those that just have vanished instants ago from the other wall. Same marks, but the sun was not there anymore. It was a reenactment of its immediate shadow-past. The space tried to coordinate its reality and its fiction balancing both over the edge of the falling dark. As if it was necessary to reaffirm that what just happened, really happened. This ritual went on day after day during the Solarism month.
The neon-vines hanging in the space got brighter, exchanging their milky daily viscosity for an intense nocturnal radiance. Their light tore out of darkness part of the foliage looming over the space.
A bit further up north, a black and white photograph tells another story of skins and shadow observation. That image comes from the photographic archive of the experiments made by José Diaz Bolio, fervent popularizer and defender of Crotalometry, a mayan alternative to geometry, according to his own words. In Crotalometry the space is measured through the observation of a snake’s skin, Crotalus durissus durissus, the Yucatecan rattlesnake. Its basic pattern is called Canamayté, a vertical square transfixed by two axes. By placing the serpent’s vertebrae over a Canamayté drawing at a certain hour, one could see how its shadow aligns perfectly with the inferior angle of this basic unit. Diaz Bolio wrote down:
The Canamayte-Four-Verted diagram of proportions in the skin of the Mayan durissus durissus rattlesnake. In the centre: a rattlesnake vertebra, first instrument for solar observation.
Days later, he had found in a local newspaper a photograph of the Duchess of Windsor, Mrs. Wallis Simpson, receiving the Japanese empress along with their respective husbands. The two women wore dresses displaying patterns that were clearly based on a Canamayté. Most probably, at least one of the male companions wore socks with the same pattern. Who knows. What was certain is that the mayan snake spread out its dynamic geometry all over the planet. The poet and musician from Merida was positive about it.
Maybe all this – the serpent, the sun, the fabric with the Mrs. Simpson dress’ pattern, engorging with the evening wind, the cyclical trips of the shadow-tattoos over the space’s skin and its constant repetition through a fiction- season, the tree tops and the Chukum, the perseverance of the experiments of a yucatecan poet, the light of the neon-vines – made part of that anagram, written close to the entrance of the space
midair sir jot unlit craze at noon

Rometti Costales
Solarism season I, 2016
25 min video loop
Variable Dimensions


Rometti Costales
Crotalometría: el motivo de la señora Simpson, 2016
Silkscreen on Fabric
150 x 300 cm


Rometti Costales
Crotalometría: ángulo solsticial de verano, 2016
Analog Photograph
10 x 15 cm


Rometti Costales
Ahau Can, 2016
Analog Photograph
10 x 15 cm


Rometti Costales
Solarism season II, 2016
160 x 220 cm
toc stones, plywood ,metal frame


Rometti Costales
Solarism Season III, 2016
Neon Variable Dimensions


Rometti Costales
Solarism Season IV, 2016
Neon Variable Dimensions


José Garcia, mx and Attilia Fattori Franchini are proud to present “Snow White and the Huntsman”, an exhibition of new works by artist Yves Scherer.
The show takes its title from the 2012 motion picture starring Kristen Stewart as Snow White and Chris Hemsworth as the Huntsman; a movie which was met with little
interest at the box office, but has made headlines for what happened behind the scenes. Various images depicting an affair between the actress and Rupert Sanders, director of the movie, appeared in major news media and got inflated into a scandal which destroyed the public love relationship between Kristen Stewart and
her Twilight CoStar Robert Pattinson. This act of betrayal put million of fans to tears and launched a debate turned rant on the rightfulness of the action performed by the actress, making it’s way into the moral codex and subconscious of a generation.

Scherer takes this context as a starting point, inserting his own narrative into it. By taking the position of a lover whose affection isn’t returned but betrayed by the very act, he develops the story of an intimate stranger, a position oscillating between the selfabsorbed intensity and onanistic privacy of the man we brush past in our passages through late night airports and bus stations, and the artist’s personal history. Over two locations and different installative environments, Scherer unfolds a fan-fiction become physical reality which pulls equally from iconic representations of 19th Century German folktales characters,Hollywood movies and gossip magazines, as well as from recollections of Scherer’s personal life. This narrative, which can be read as a modern fairytale, is reflecting on the cherished notions of
solitude in the web era and shared values of the couple as a social entity; on how to live and what to expect from a love relationship today. At the same time it’s an exploration of the illusion of intimacy between celebrity and audience, a product of the ever tightening and finely spun media mesh, which started off with Paparazzi culture but has risen exponentially with the diffusion of social media platforms as Instagram or Twitter.


Yves Scherer
K&Y (5), 2016
gouache, photographs, pencil, crayon, paper, marker pen and tape on paperboard
87.3 x 107.5 cm


joségarcía ,mx is pleased to present new grammar, double fault and the possible ones, an exhibition of new work by José León Cerrillo. The exhibition consists on new bodies of work: a series of silkscreen and painting on wood, a floor piece and cast concrete sculptures. Cerrillo continues his interest in complicating and codifying notions of language and perception to address ways of understanding or coping with the object vis a vis abstraction.New grammar , the series of paintings on wood are a follow up to POEMS; an ongoing silkscreen series in which an idiosyncratic alphabet of sorts has been compiled. POEMS exist somewhere between diagrams, drawings and patterns, using letters, symbols and numbers as anatomy of content. This logic is applied as a reusable graphic system that is combined differently each time, allowing for mutable formats and media but always pointing to or making manifest, the possibilities of meaning through repetition: the jolly jolt of interpretation as form.

In past iterations POEMS took the form of wearable rain proof jackets. These same jackets have been reused and dissected by new grammar allowing the sewing patterns to dictate the structures of the paintings.
Bisected by the architecture of the gallery is a floor sculpture that is a 1:1 scale of a tennis court. Extending, by way of analogy, the tacit agreement on a given set of rules that makes any language exchange possible, the floor of the gallery becomes the support for a potential game.As a usual operation in José León Cerrillo´s practice, the status of the objects in the exhibition deny any autonomy and ask to be read as markers of a carefully mediated mis en scene. Weighing this down as a visual pun are concrete spheres title Problems that waver somewhere between concrete/absolute form and pointers towards an inner narrative or logic. A possible exit-game strategy.


Exhibitions View


By Boat (Farewell) is inspired by the story of José Salvador Alvarenga, a fisherman from El Salvador who was blown off course from the coast of Chiapas, Mexico in November 2012. Alvarenga spent some 13 months adrift at sea before being discovered in the Marshall Islands in January 2014.In the visual arts the voyage, and in particular the boat, have been looked at and used by artists for centuries, primarily as means to represent romance, longing, and the desire to escape, discover and renew. Connecting with the tale of Alvarenga and issues that mark its uniqueness—including loss, hope, time and survival— By Boat (Farewell) follows in this art historical lineage, casting such ideas from a contemporary viewpoint through artworks by a number of international artists.

While the backdrop of the exhibition is tied to Alvarenga’s incredible and as some have argued debatable story, it is also linked to the circumstances in which the exhibition takes place. By Boat (Farewell) marks the inaugural show of the gallery’s programme, a new gallery directed by José García Torres who due to turbulent waters leaves behind his former gallery to now journey in a clearer direction… Saying farewell though returning.

Bas Jan Ader
In Search of the Miraculous, 1975
Invitation cards for Claire
Copley Gallery
and Art Project Bulletin, 1975
34,5 x 47 cm, 19 x 14 cm

Christian Jankowski
Review, 2012
25 x 10 xm
Cristal Bottle, Paper, Wax

For Review, Jankowski invited art journalists and critics to write a hand-written review on the artwork he would eventually make with their reviews. After finishing their texts, they were asked to place these inside an empty bottle of their choice and deliver them to the gallery. The photographs document a waterproof bottle that served as a sample made by the artist.

Ryan Gander
I just want you to know I can see through
your mask, 1987 by Aston Ernest,
, 2011
Painting of a lady: 51 cm x 80 cm x 2.8 cm
Painting of a foot: 51 cm x 51 cm x 2.8 cm
Acrilyc on canvas

Two oil paintings of differing sizes hang next to each other. The paintings are reproductions of two paintings that appear in the film The rebel, 1961.
One of a human foot on a blue background painted by the character played by tony hancock; whilst the other is a portrait of a woman painted by hancock’s artist nemesis. The diptych I just want you to know I can see through your mask, was painted by Aston ernest as part of his A rottenness -Making fools of men series of doubling works.

Jonathan Monk
All the Sizes Available in All the
Sizes Available (fishing boats)
, 2005
(framed) 41.5 x 56.5 cm, 32.5 x 42.5 cm,
29.5 x 38.5 cm, 26.5 x 34.5 cm, 24.5 x 30.5 cm,
21.5 x 26.5 cm, 20.5 x 24.5 cm

This work is part of a series in which the artist takes a stock photo a film company used for advertising all of the different sizes at which an image can be printed at. The stock photo is printed in all of the sizes available. In the case here, the image depicts a fishing boat. when displayed, the boat itself seems to disappear over the progression of the sizes and their reduction, recalling the story of Alvarenga and its central themes of loss, duration and time.

Chris Burden
BC Mexico, 1973

“I was dropped off in san Felipe, Mexico, on the sea of Cortés. In a small canvas kayak I paddled southward to a remote beach carrying some water with me. I survived there for 11 days; the average daily temperature was 120 degrees [Fahrenheit]. on June 7, I paddled back to san Felipe and was driven to Los Angeles. The piece had been announced as a show by Newspace, and during my stay in Mexico a notice in the gallery informed visitors of my absence. on June 10 at Newspace, I showed a short movie of my departure and read a diary I had kept.”

Jessica Warboys
Sea Painting, Dunwich, Summer, 2015
Mineral, pigment, canvas
180 cm x 145 cm

Part of a series of works, the painting on display here was made by the artist earlier
this year near the coast of dunwich, UK. In each painting of this series the artist mixes pigments on the canvas and casts them out to sea.

Amalia Pica
Farewell (unique photocopies), 2009
Cut-out photocopy on paper,
pins for hanging
Courtesy Zabludowicz Art trust

Farewell (unique photocopies) image a scan of various white handkerchiefs that have been stitched into-the type of handkerchiefs used to gesture farewell to those setting off on a long journey.

Dan Rees
Swan’s Way or Whale’s Road, 2009
Super 8 traferido a dvd

For this work, the artist rowed out to the shore from the coastal city of swansea, his birthplace. reaching approximately a two-mile distance from the coast, the artist filmed the shoreline to try and capture the entirety of swansea, from the viewpoint of the sea. The idea of rowing out by boat from his home, as well as filming the action in 8mm format, is not only a deliberate reference to the work of Bas Jan Ader, but also points to this last one’s story and biography, which runs throughout his practice.

Dan Rees
Snacks’ Poca; Super Crisp; Tasto, Shrimp Tempura;
Big Roll; Tao Kae Noi; Tasto, Japanese Seaweed;
Pringles, Salt and Seaweed; Hi Tempura; Lay, Nori Seaweed’

2015, Perspex, food packaging; 6 parts
Overall dimensions: 36 x 700 cm

All of these works alight from the artist’s ongoing research into the seaweed industry, which he
started in 2013. his own love of laverbread -which he regularly has sent from wales to his studio
in Berlin-as well as his belief that laverbread, a seaweed based food, has arguably yet to get the attention it deserves, have been some of the issues that initially sparked this research. The later is especially true when considering the trade of seaweed in other countries, particularly in Asia where it has been a food staple for centuries. The series presented here overlap with Alvarenga’s makeshift sea diet during his 13 month fight for survival, which included fish, birds and turtles.

Sian Rees Astley
Oscillations & palpitations, 2015
60 x 100 x 100cm

This work displays an inability and frustration to communicate, on the one hand, and on the other an urge and desire to do so. It consists of a radio antenna attached to the wall, appearing to make a plea for the walls of the gallery to transmit and communicate with the outside world.

Mario García Torres
Título variable (Pieza del Pacifico), s/f

Mario García Torres
Título variable (Pieza del Atlántico), s/f

Mario García Torres
Saying Goodbye to Ships (With Evo’s Sweater), 2006

The series of photos document a play on a work titled Goodbye to Boats (Sailing In) (1972-1973) by LA artist John Baldessari, with the difference that the artist is wearing a replica of an Evo Morales’ sweater. Evo Morales, the President of Bolivia has been criticized for not using suits, a critique to which a Bolivian company responded by putting replicas of one of Morales’ sweaters on the market. The act of saying goodbye is something that runs through the drastic struggle that both José Salvador Alvarenga and his family faced, although his family thought he had disappeared long before he became lost at sea.

Nina Beier
Ground, 2015
Dimensions variable

A statue of a man on a horse on a piece of ground is a clear representation of traditional ranking order. In Ground, the man and the horse have been removed and what is on display is the
depiction of an empty base-a pile of dirt. taking on the hierarchies of figure and ground relationship, we here meet the ground as a figure. A vignette of earth, an agglomeration of implied locations, these sculptures-both figure and ground-are at once literal and figurative. In the context of this exhibition, Beier’s ‘grounds’ take on the appearance of islands and shorelines situated far away in the distance-a sighting most likely re-current and somewhat frustrating and disorienting for José Salvador Alvarenga during the time when he was lost.

Jesse Wine
Nicest of Dates, 2015
Glazed ceramic
Various dimensions

Snails placed in various parts around the exhibition space and gallery.

Ahmet Ögüt
Guppy 13 vs Ocean Wave; a Bas Jan Ader Experience,
2010, Installation: 6’47”, single-channel video, sailboat, police report, photograph produced by Tolhuistuin, Stichting Cultuur aan het IJ

Guppy 13 is one of the smallest pocket cruisers, made by Melen Marine Ltd. in California. only about 300 of them were produced between 1974 and 1975. Guppy 13 is the exact same model as dutch artist Bas Jan Ader’s boat ‘ocean wave’, in which he attempted to cross the Atlantic ocean in 1975 when he eventually disappeared.

Ögüt found the same type of sailboat that Ader used, a Guppy 13, and got it shipped to Amsterdam. he invited visitors to live through Bas Jan Ader’s experience, albeit only for a few minutes, in this sailboat on Amsterdam›s waters. The only rule was that those who participated, had to agree to get on the sailboat by themselves. Bas Jan Ader’s Guppy 13 was found near the shores of Ireland by a spanish boat and taken to spain. The boat was stolen a few weeks after it was found. Ögüt’s Guppy 13, too, got stolen in Amsterdam and he found it four months later. eventually this temporary
disappearance became part of the final work.

Daniel Gustav Cramer
Tales (S’Ilario, Italy, September 2014), 2015
8 C-Prints, 25 x 20,5 cm each
Framed: 29 x 23,7 x 2,2 cm

These two pieces mine the idea of creating containers for possible future associations-a seemingly empty object with a sharp sense of physicality and weight. when exhibited, meaning produced by the works, or containers, could be determined by that which surrounding them. Their void space and sense of emptiness could be interpreted as reminiscent of similar feelings that José salvador Alvarenga probably confronted during his 13 month struggle.

Tania Pérez Cordova
Error (sinking), 2015
Graphite crucible and Zinc

Tania Pérez Cordova
Error (running around), 2015

Tim Foxon
Four drawings, 2015
Each: 25 cm x 19 cm

This collection of drawings by UK based artist Tim Foxon presents renditions of characters from the popular US sitcom. The artist drew the drawings without looking at the page, connecting with
Alvarenga’s inescapable feeling of being lost, bemused and disorientated. taken from a sitcom, the characters drawn by Foxon are those belonging to a popular American V series, the type which would offer the artist some sense of comfort and the well-being of home if he was lost while travelling.

On Kawara
MAR. 1, 2002, 2002
Acrylic on canvas
20.3 x 26.7 cm

Kawara’s date paintings record the date in which the work was made. The artist started the series on the 4th of January, 1966. The language and structure of the date is always in keeping with the country in which kawara is located at the time. each piece had to be completed by midnight on the day it was painted. If not, it was destroyed. some 3000 paintings were produced. The series is governed by time, duration and language, which are recurrent throughout the artist’s work.

Sung Tieu
State of Affairs, 2015
Text on hour electronic LED signs

This series of Leds recall those seen on public transport, such as ferries or trains. The Leds show recruitment agreements, specifically between Mexico City and the United states, such as the Bracero Agreement from 1942 for the importation of temporary contract laborers from Mexico to the United states. while the issue of labour connects with the story of José salvador Alvarenga, it also alludes to the idea that we might never arrive at our desired destination.

Between March twenty-sixth and May ninth
Tania Pérez Córdova
From March 26 to May 9th, 2015

Dogs when barking (They say), The politicians (They say), They say a lot, They say it’s common, The teenagers (They say), They say it happens for a reason, They say you will regret, They say no, They say yes, They say it in the street, They say it was on purpose, They say it smells like perfume and sweat, They say what they can, The say it at home, They say it was on the news, They say it´s bad, They say it´s the same´, They say it makes miracles, The foreigners (They say), They say there is enough for all of us, They say shit, They say nobody knows, They say soon, They say it´s free, They say she lost everything, They say the truth, They say there is no evidence, They say they came first, They say it’s like a rock

Between March twenty-sixth and May ninth

In the left side wall there is a clay vase sun-dried and fired in a wooden kiln. At the bottom of the vase there is an imprint of the bank card number fifty two, zero, four, sixteen, forty nine, forty six, fifty one, zero eight, ninety five. It is a MasterCard debit card that expires on November of two thousand and nineteen and has the security number three, three, zero. The card is linked to a Banamex Perfiles account with a fixed monthly fee and check book.

Further, on in that same wall, there is a white marble shelf which weighs eleven kilograms and features six paris of Freshlook Colorblends cosmetic contact lenses dipped in lens solution. The contact lenses have personalised prescriptions and colours such as sapphire, blue, honey, grey, green and pure hazel. Additionally, six friends will wear coloured contact lenses, differing from the original colour of their eyes, while mingling in a crowd.

On the next wall there is an aluminium rail holding an oil painting portraying a stripy shirt for men. This shirt was made in Mexico from a fabric composed of sixty percent cotton and forty percent polyester. Additionally, a man who works close by will wear this exact shirt twice a week for work, and will come by the gallery occasionally during his lunch hours between two and three of the afternoon.

In the centre of the space there are ten glass sculptures made from the glass of my studio windows. These windows are facing north and south towards Insurgentes and Eje 2 Sur.

On the way out, at the wall next to the corridor, there is a bronze contour, which in its liquid stat was poured into sand. An approximation to real scale…

Between March twenty-sixth and May ninth

A person possessed by curiosity, 2015
Wood-fired clay, Banamex bank account
Diameter: 23.62 in
Depht: 8.66 in

Between March twenty-sixth and May ninth

Talking to a person in a group of people, 2015
White marble, cosmetic contact lenses with personalised prescriptions (colors: sapphire, blue, honey, grey, green and pure hazel) and six friends within a group of people wearing contact lenses of a different color than their own eyes.
1.18 x 21.54 x 13.78 in

Between March twenty-sixth and May ninth
Between March twenty-sixth and May ninth

A photo of a man crossing the street , 2015
Oil on linen, aluminum sliders, men shirt
and man wearing it occasionally
19.69 x 15.75 x 1.22 in

Between March twenty-sixth and May ninth

They say it makes miracles, 2015,
Glass from a window facing north, plastic bag ,
5.12 x 17.72 x 10.04 in

Between March twenty-sixth and May ninth

They say what they can, 2015
Glass from a window facing north, Avene soap-free cleansing gel
7.2 x 29.65 x 12.48 in

Between March twenty-sixth and May ninth

Untitled, 2015
Bronze poured into sand, approximations in scale
38.27 x 35.31 x .71 in

Between March twenty-sixth and May ninth
Between March twenty-sixth and May ninth

Nobody walks away from true collaboration triumphant or un-bruised
Ryan Gander & Mario García Torres
From February 3rd to March 14, 2014

Nobody walks away from true collaboration triumphant or un-bruised
Nobody walks away from true collaboration triumphant or un-bruised

The World is Heavier than an Artist’s Breath, 2007,
Mario Garcia Torres
Collection Isabel & Agustin Coppel, Culiacan

A helium filled balloon of variable dimensions suspended on a cotton cord in the exhibition space.

Nobody walks away from true collaboration triumphant or un-bruised

The unbearable idea that actions invariably result in consequential actions, or How to make a movie
script write itself
Ryan Gander y Mario Garcia Torres

A video produced from stock footage that in the near future will possibly be used in a whole different context and seen in a whole new light, displayed on a Volumex monitor shown alongside a script of an anonymously written printed tutorial explaining how to write a script. 2′ video and 14 letter size pages.

Nobody walks away from true collaboration triumphant or un-bruised

Exhibition view

Nobody walks away from true collaboration triumphant or un-bruised
Nobody walks away from true collaboration triumphant or un-bruised
Nobody walks away from true collaboration triumphant or un-bruised
Nobody walks away from true collaboration triumphant or un-bruised
Nobody walks away from true collaboration triumphant or un-bruised
Nobody walks away from true collaboration triumphant or un-bruised
People of the Evening Land
Simon Fujiwara
From February 3rd to March 14, 2015

Peoples of the Evening Land is Simon Fujiwara’s second exhibition at Proyectos Monclova. Taking its title from the  German  Abendland  -­‐  The  Land  of  the  Setting  Sun  or  the Western  World,  Fujiwara  brings  together  four  entirely new bodies of work that together present a fragmented archaeology that abstracts and enlarges the shifts  in  values,  lifestyles,  happiness,  ecology  and  politics  in  post-­‐globalised  Northern  Europe.  Through  a  series of altered artefacts and documents from German life dating between 1950 and today, the works present  themselves  as  commodities  freed  from  their  narratives  (be  they  political,  social  or  economic)  and  returned to the apparent innocence of their materials. From the fragmented abstract make-­‐up portraits of Angela  Merkel  -­‐  current  leader  of  Germany  and  the  most  powerful  woman  in  the  Western  world  -­‐  to  the  shaved fur coats that reveal the patchwork archaeology of their making, basic dichotomies such as skin and body, power and invisibility, surface and content, wealth and poverty are indistinguishable in a world where no amount of analysis, dissection and ‘zooming in’ brings us closer to understanding our basic human nature.

Peoples of the Evening Land

Masks (Merkel E.10,1), 2015, Make up on linen, 85.04 x 65.47 x 1.57 in

Peoples of the Evening Land

Fabulous Beasts (Wild Cat),2015, Shaved fur coat, 51.26 x 33.46 x 1.26 in

Peoples of the Evening Land

Fabulous Beasts (Grey Fox),2015, Shaved fur coat, 51.26 x 33.54 x 1.26 in

Peoples of the Evening Land

Ich (2x7L Tandem 7 Trennsystem),2015, Mixed media with bronze patina, 15.94 x 9.76 x 32.09 in

Peoples of the Evening Land

Hello,2015, HD video 10′ 15”

Peoples of the Evening Land

Helene Appel, Bianca Brunner, Ryan Gander, Fernanda Gomes, Marie Lund,
Josephine Meckseper Helen Mirra, Andreas Slominski, Franz Erhard Walther, Nicole Wermers
From November 12, 2014 to January 17, 2015

SOME  /  THINGS  seemingly  alludes  a  rather  simple  matter.  The  title  simultaneously  bears  an  aspect  of  banality and arbitrariness. The word thing can mean everything and therefore nothing, it can be concrete or abstract.  And  it  is  precisely  a  closer  investigation  of  thing  that  plays  a  major  role  in  this  group  exhibition,  bringing together works of 10 international artists, most of them showing in Mexico for the very first time.

Heather Guerthin
From November 12, 2014 to 17.01.2015

The  title Aluminum  Linoleum refers  to  a  voice  exercise  that  an  actress  will  repeat  to  prepare her voice before she goes on stage. Try to say Aluminum  Linoleum three times fast and it is a tongue twister. It also refers to commonly used industrial building materials in contemporary architecture.

Aluminum Linoleum
Aluminum Linoleum

Mars, 2014
oil on canvas, 18 x 15 inches

Aluminum Linoleum

Same Dream, 2014
oil on canvas, 16 x 13 inches

Aluminum Linoleum

Untitled, 2014
oil on canvas, 16 x 12 inches

Aluminum Linoleum

Portrait of Jean Vigo, 2014,
oil on canvas, 16 x 13 inches

Aluminum Linoleum

Outdoor Seating, 2014,
oil on canvas, 68 x 48 inches

Aluminum Linoleum

Mexican Beauty
Gabriel Rosas Aleman
From September, 19, to November, 01, 2014

Gabriel Rosas Alemán’s work emerges from transcdiciplinary researches oriented to create performance pieces and installations. Within his work he includes experiences that divide metaphors, in which he pretends to show our sculptural condition and behavior. Rosas Alemán brings awareness to the viewer on his shapeable circumstance, constructed and reconstructed through the paths of architectural and/or social spaces. Mexican Beauty is a project based on the research of pieces like: Josef Albers´s Homage to the square (1949), Francis Alÿs´s As long I`m Walking (1992) and Robert Smithson´s Hotel Palenque (1969-1972).

Trail no.1 ,2014
Laser engraving on aluminum
2.10 m x 10 cm0 m x 10 cm

Trail no.2 ,2014
Laser engraving on aluminum
2.10 m x 10 cm

Trail no.3 ,2014
Laser engraving on aluminum
2.10 m x 10 cm

The unknown god ,2014
Video 6.37 min

Daniel Steegmann Mangrané
June 26 – August 30, 2014

“What an odd thing it is to see an entire species – billions of people – playing with, listening to, meaningless tonal patterns, occupied and preoccupied for much of their time by what they call ‘music.'”[1]
Daniel Steegmann Mangrané pushes the viewer to deconstruct and experience space, while at the same time giving him or her the opportunity to construct another space out of the relationships between different objects. Born in 1977 in Barcelona, Steegmann Mangrané works in collages, paintings, videos and sounds that clash amongst themselves, setting off a chain of movements and actions that in turn trigger meanings.
The viewer is invited to move around and to translate these chains. This subject is now a translator of language, a passerby lost and adrift, an exile with the possibility of expanding his vision thanks to movement. Pieces like Fólego (2014), carried out with the flautist Joana Saraiva and conceived in reaction to the space of Proyectos Monclova, is a perfect display of this flow. The breath of seven crosswise flutes located at different points of the gallery circulates and expands within the four walls, and at the same time connects and activates the rest of the pieces of the exhibition.

Fólego, a sound piece, gives voice to the silence of Rama de Avenca (2014), a quiet sculpture with the hope of becoming an insect and no longer a branch. The sculpture moves until it turns into Phasmidea (2013), but it grows silent once more, since its nature lies in silence. Nevertheless, the quietude is interrupted with the artificial and metallic noise of Systemic Grid (2014), a steel plate cut into pieces upon which the viewer can walk and move about.
The artist lives and works in Rio de Janeiro, and since his own migration, he has experimented and played with objects by translating them, recycling them. He produces synecdoches represented in videos, sculptures, collages or performances. That is to say, the artist as translator chooses where to put emphasis, and where meaning is most urgent so that this may subsequently be represented.
Steegmann Mangrané invites us to participate with him; he shows us the path of a drifting off course that will lead us, upon experiencing it, to the construction of new meanings.

Systemic Grid XI, 2014
Problack on gesso
22.05 x 22.05 x .47 in


Phasmides, 2012
16mm film transferred to
HD video, color, mute


Simetrías, 2014
Collage C-print
7.87 x 5.91 in (each)


Fólego, 2014
flutists, composition, Performance


10 April until 14 June 2014

Proyectos Monclova is pleased to present Federico Herrero’s first solo exhibition in Mexico, Letters and volumes.
Herrero’s approach to painting touches on Latin America’s conceptual, muralist, and geometric abstraction traditions and yet stands outside them. The artist goes beyond the limit of the traditional notions of painting. Not only for the way he handles the physical margins of the canvas, but also for how his work operates in and with space. Besides the typical canvas and walls, the supports and surfaces he uses are as varied as a street, a bus, or the bottom of a swimming pool, and most recently, concrete and wooden sculptural elements, which Herrero calls “volumes”. A series of such three-dimensional units is displayed alongside large-scale paintings at the gallery’s first floor. However the artist does not consider them sculptures, rather an alternative space for painterly intervention.

These objects allude to modernist architectural fragments thus complementing the mental landscapes presented on the canvases. Herrero’s imagery comprises chromatic patches of color, cartoon-esque figures, the lack of painting and disembodied eyes. The use of different mediums such as oil paint, acrylic, marker, pen and spray paint within the same picture dissolves traditional technique hierarchies and reflects the painting process itself.Risk and improvisation are crucial to Herrero’s practice.His work can be seen as a study of liminal spaces—gaps between figure and background, canvas and wall, private and public, and between work and viewer. Federico Herrero also questions the spatial boundaries of museums and galleries, presenting an installation-like approach of his work. In Letters and volumes the artist pairs a series of paintings with color applied directly onto the interior architecture. He employs the basement space of the gallery to expand the concept of painting and its perception. The gallery floor becomes the canvas: a bright sky blue covers the entire ground and extends slightly to the walls, thus transforming the exhibition space into a vessel, demonstrating its volumetric properties.

By suspending the limits between walls and floor, Herrero subverts display hierarchies grounded in institutional traditions. But this moment of transfer is not exhausted at this point. While painting in his studio, Federico Herrero protects the floor with a white plastic surface. Marked with different types of traces such as color drips, foot-prints and dirt stains, this cover becomes the actual piece in the exhibition. One might call these pieces indexical paintings of the painting process itself.
Such an accidental and automatic mechanism is of particular interest to the artist, who then explores the possibility of mimicking randomness.

From February 4 to March 23

-Is your tile outdated or the wrong color?
-Are you ready for a new updated look but don’t want the hassle of demolition and construction?
-Are you concerned about the cost and the time without your bathroom?
-Do you feel that the technological revolution produced by information technology has deregulated the relation between time and value?
-Are you experiencing a parthenogenesis of value, which creates money through money without the generative intervention of physical matter and muscular work?
-Do you hide your valuables under your towel when at the beach?


Liquid Assets, 2013
Parts of bronze statue of Zapata
(Mexican revolution figure)
Vitrine 01:
178 x 51 x 96.5 cm
Vitrine 02:
122 x 51 x 96.5 cm
Vitrine 03:
152.5 x 51 x 96.5 cm

liquid assets

Tileables, 2014
Seamless skin texture printed on ceramic tile
153 x 109 x 3.5 cm
322 x 182 x 4.5 cm
242 x 121 x 4 cm


Minutes, 2014
Wagireh rug, real hair wig, glass, foam MDF
69 x 93 x 7 cm
120 x 93.5 x 7 cm


Greens (руб 50 rubles), 2014
Printed towel, pressed palm, glass, foam, MDF
160 x 40 x 4 cm
160 x 40 x 4 cm


09.11.2013 – 18.01.2014

The area comprising the states of northern Mexico and southern United States is the space in which the exhibition Otros días [Other Days] by Mario García Torres is situated. This exhibition explores and distorts this place in the artist’s personal imaginary, taking it both as a location and as a vehicle for the possibility of carrying out artistic gestures.

Composed from records of a variety of strategies that give shape to an elliptical vision of the territory, this exhibition attempts to activate memory and time, triggering other images that live within the spectator, in whom reality is rethought. The work is not what is there, but rather what it reflects, and what the act forgets and omits.

Exhibition views

The exhibition is framed by two audiovisual essays: They Call Them Border Blasters (2004), a sweded videoclip for the song “Mexican Radio” (1982) by the New Wave band Wall of Voodoo, which has been subtitled with a text were the social and political implications of radio stations in the borderlands transmitting content toward the United States are investigated. At the other margin of the exhibition, works that the North American artist Robert Smithson planned to carry out at different points in Texas, but which he left unfinished, are reimagined in the video The Schlieren Plot (n.d.).

The series Registros momentáneos consists of photograms produced under the Texan sun, documenting the artist’s attempts to seek out different possibilities for a work sketched by Robert Smithson but never produced. Locación posible (Possible Location, n.d.) is a natural diorama of a portion of the aforementioned territory, a place that can be discerned as a potential scene for an artwork, removed from its context as an index of its potential. A sculpture consisting of two kilos of a metal called gallium (La forma de la memoria [The Form of Memory], n.d.), which is capable of reflecting what is around it while in liquid form, understands evocation and the object of memory as being formed by the immediate past but informed by the present.

In Otros días, images are merely devices with which to generate another exhibition, another place in which the works exists. This ultimate stronghold then becomes the space wherein to question objectivity and to put our notions of perception up for discussion.

From November 9, 2013 until January 18th, 2014

A project in collaboration with Galería de Arte Mexicano (GAM)

From August 24 until October 19, 2013

Proyectos Monclova is pleased to announce Back Pack, the second solo show by Marie Lund at the gallery. The exhibition is composed of a new series of canvases, and bronze, concrete and wooden sculptures.
The canvases used to be curtains. The openings they covered and the light they have been keeping out is held within the fabric. The building is gone now, and the folds, the lows and the highs are
flattened. The sculptures stand the way you do, upright, feet on the ground. They are not legs but the inside of a pair of trousers.
Back Pack goes on your back. The content depends on the size of the bag and how much you can carry.
The material has taken its shape from the immediate surroundings, from something leaning against it, pushing and pulling with the pressure of weight and of time.

Marie Lund
Marie Lund
Marie Lund
Marie Lund
Marie Lund

Masks, 2013

The inside of Masks carefully follows the contours of the face. The thickness of the material presents different features on the outside. And when you take the mask off you are left with an empty container and a bare face.

Marie Lund
Marie Lund

Stills, 2013
Sunburned fabric, wooden stretcher
120 x 200 cm

Stills used to be curtains. The openings they covered and the light they have been keeping out is held within the fabric. Like the seams on your jeans making marks on your skin after a long day.
The building is gone now. The folds, the lows and the highs are flattened, and left as highlight and blacks on the plane surface. Like a slowly processed photograph capturing its own shape as well as its surroundings.

Marie Lund
Marie Lund
Marie Lund
Marie Lund

Attitudes, 2013
Variable dimensions.

Attitudes take your place. They stand the way you do, upright, feet on the ground. They are not legs but the inside of a pair of trousers. The concrete has taken on the shape of pants and the pants the shape of concrete.

Marie Lund
Marie Lund
Marie Lund

The Very White Marbles (2), 2013
Carved found wooden sculpture
50 x 17 x 11 cm

The Very White Marbles (3), 2013
Carved found marble sculpture
30 x 21 x 18

The sculptures that recall heads had been chiseled from found and weathered sculptures until arriving at yet untouched layers of the material. they had lost ears and nose and are left completely bare, both pointing to the material and the person there once were.

Marie Lund
Marie Lund

Curated by Fabiola Iza
From July 16 until August 17, 2013
Artist Talk: Trevor Paglen. August 17, 19:30 hrs.

In July 1969, the Apollo 11 space shuttle was launched to outer space. Its final destination, the Moon. Two of its crew members would become the first men to step foot on this satellite, however, an endless number of theories quickly emerged denying the veracity of this historic affair.
The same event, the human arrival to the Moon, serves as theme for Georges Méliès’ short feature film Le voyage dans la lune (1902). Inspired on the same-titled short story by Jules Verne, this blatant montage –and first fiction film ever made– shows what a profitable disadvantage the complete ignorance of the behavior of objects and the human body on the Moon’s surface was. This representation crisis certainly stimulated the imagination and creativity to depict how this new surrounding, a new reality, could be.

Viaje a La Luna

This exhibition is traced upon the limit of the tension provoked by both moments of the same event, and it wishes to explore to a certain degree the aesthetic encounter, that is, how a spectator reacts face to the uncertainty produced by an object or situation. The body of work of the featured artists is constructed through images and objects of an indexical nature; they tend to annihilate the primacy of the artwork as an immediate source of experience and relegate its physical presence to the background. The works brought together in this selection are a sort of trace of something that may have never taken place. They are suspended in a state oscillating between the purely documentary and the purely fictional.

A trip to the moon

Through different media, the eight summoned artists offer different propositions on how the opening of an aesthetic space involves the opening of a political one.
Framed under the theoretical umbrella of the exhibition, artist Trevor Paglen was invited to deliver his acclaimed lecture The Last Pictures. This multimedia presentation stems from a five year long research process in which Paglen interviewed scientists, philosophers, anthropologists, artists, and practitioners from other fields on the profound contradictions that shape contemporary civilizations.

Viaje a La Luna
Viaje a La Luna

Nina Beier, Flowage, 2013
Tubas, water hoses, water and air. Variable dimensions.

Through a series of tubas connected via hoses to the gallery’s plumbing, Beier fixes her sight on the impossibility of an adequate or definitive meaning inhering in what we observe. By associating two objects that appear to be completely alien to each other, the artist inquires on the infinite possibilities which lay in the association of ideas prompted by doubt or amazement in the face of two concepts that do not seem to fit together. What constitutes a metaphor? Is it possible for there to be a metaphor with no meaning, or will we always find one? What happens if it is stripped of its referent? In this case, the tubas and hoses – which could just as easily have been another pair of objects – are silent, inanimate bodies that depend entirely on the spectator and the context in which they are inserted in order to come to life.

Viaje a La Luna
Viaje a La Luna

Nina Beier, Spectacle #1, 2009
Event documentation; framed photograph, 127 x 100 cm

In Nina Beier’s work the object, the event, the encounter, and the document are constantly permeated by a condition of instability, trading places as the center of attention while the others withdraw from the scene. The photo series Spectacle, captures the moment at which a spectator observes a sculpture made by the artist herself. Once the photograph has been taken, the sculpture is destroyed, and the total consumption of the work thereby becomes impossible.

Viaje a La Luna

José Luis Cortés Santander,
Untitled (from the series Irregular Pearl), 2011

This screen print is part of the series entitled Irregular Pearl, an exercise of a formal bent in which Cortés Santander has explored the mutation of a perfect form, as is the structure of a pearl. By giving it a conical protuberance, its previous natural balance has been denied or annulled. The result of this graphic suggestion is the instability of the object. The terrestrial globe traced in the print can only exist in potentia, as a provocation to reflect on an unsustainable state.

Viaje a La Luna

Roisin Byrne, It’s not you, it’s me, 2010-11

Through a collection of scanty documentation, Roisin Byrne tells of her transformation into the Italian artist Roberto Cuoghi. After taking an interest in a project in which Cuoghi began to transform himself into his father, Byrne initiated a brief email exchange with the artist’s dealer, his colleagues, his friends, etc. Given the paucity of documentation relating to the original project, Byrne’s research on it and the elusive artist was frustrating and inconclusive. In the process, however, Byrne discovered discrepancies in Cuoghi’s records and took these as an opportunity to become the artist himself, legally changing her name to Roberto Cuoghi. It’s Not You, It’s Me is centered around drawings and actions, such as the opening of bank and email accounts (among other things) with this new legal identity. Byrne’s transformation into Cuoghi reached the point at which reality and fantasy coincided so deeply that the artist began receiving invitations to participate in exhibitions as Roberto Cuoghi. The scanty extant documentation constructs the project in the mind of each spectator and inconclusively leads him or her to wonder to what degree the clues are indices of a true event.

Viaje a La Luna

Ulla von Brandenburg, Ein Zaubertrickfilm (A Magic Trick Filmed), 2002

In the super 8 film Ein Zaubertrickfilm [A Magic Trick Filmed], the artist asked friends and acquaintances to perform a magic trick in front of the camera. All of the summoned ones proved to know one at least. Although in the contemporary world magic is regarded as falling within the genre of fantasy, even if only for a moment most people do wonder whether it exists. Such an apparently simple gesture becomes more relevant when it is recorded on film and thus turned into a mediated experience, prone to being manipulated.

Viaje a La Luna
Viaje a La Luna

Laurent Grasso, Psychokinesis, 2008
HD video, animation

Psychokinesis is a paranormal phenomenon that consists in the ability to move objects with the mind. This is a hypothetical – imaginary – ability that has never been scientifically proven to exist. Laurent Grasso’s video shows a large rock levitating mysteriously over an unknown landscape, a desert, perhaps. The rock rises and falls periodically, as if its movement were a response to an external force controlling it. Grasso’s work explores the contradictions between what we think, what we perceive, and what we expect. His work presents settings whose temporality is difficult to determine and prompts the spectator to question the very reality of the forms she perceives. Playing with the historical, documentary veracity of the images he manipulates, the work remands us to the familiar and the known while at the same time transporting our gaze to the point of fracturing the real. By elaborating the extraordinary details of the ordinary world, or suspending the rules that govern its logic, each sequence incites a strange uncertainty that hovers between the real and the imaginary.

Viaje a La Luna

Christodolous Panayiotou, Sin titulo, 2012
Paint and gold on wood, diptych.
39 x 59 cm each

Through a refined process of abstraction, Christodoulos Panayotiou uses objects that evoke rituals, in this particular case from the Byzantine tradition, and then strips them of their apparent religious referents. Thus, a diptych of icons becomes a diptych of gilded monochromes that, although it harbors a certain mystical charge, serves as a tourist object that mocks the desire to represent Panayotiou’s birthplace, Cyprus. In the face of the political and economic crisis that has afflicted the country in recent years, the Cypriot past – linked to the Hellenic tradition – has been exalted with the aim of promoting the country as a tourist destination. The icons make evident the constant manipulation of historical narratives and their reinterpretation in the service of current interests.

Viaje a La Luna

Christodolous Panayiotou, The Invention of Antiquity, 2012
14 b&w photographic prints, framed.
30 x 30 cm each

This series of 14 photographs emerges from Panayotiou’s lengthy research in the archives of the Office of Information and the Press in the city of Nicosia, Cyprus, and which is part of a larger series. Through a sort of visual investigation, the artist forms groupings of images that convey the narratives that have been constructed in recent decades to shape the identity of Cyprus. The scenes in these images were commissioned by this same Office after the country’s independence from Great Britain in the 1960s, and show various officials at different archaeological sites, including one that can be identified as an amphitheater. The creation of a visual imaginary that remands to the Hellenic tradition is joined to the current government’s efforts to reconstruct the history of Cyprus, to forge a strong identity – with ties to a grand cultural past – and to be projected to the rest of the world as an interesting tourist destination.

Viaje a La Luna

Trevor Paglen, PARCAE 2-1(A) in Monoceros (Naval Ocean Surveillance System; 1990-050A), 2013
C-print, 122 x 152

Trevor Paglen’s work emphasizes the occult and the unknown, stripped of all metaphysical and spiritual charges or connotations. Although this pair of images could consist of astronomic observations, or else be inscribed into the genealogy of landscape as an artistic genre, Paglen’s interest is one of a more political nature, and hinges on the interpretation of the world that surrounds us. The artist, trained as a geographer as well and well versed on the scientific field, constantly travels to remote or nigh inaccessible places with the aim of getting to the exact point from which it would then be possible to photograph the objects that discreetly, silently, and in most cases, secretly inhabit the earth’s atmosphere or even outer space.

Viaje a La Luna

The red image depicts a spy satellite moving slowly through the frame; it was only possible to capture it through a long exposure shot. This satellite is part of a family of reconnaissance satellites put into orbit by the U.S. Army, the first generation of which was launched in the late 1970s, the most recent in 2001. Fully identified by Paglen, the satellite that appears in the image is from the second generation, launched in 1990. Through such techniques as electronic listening, these function to determine the positions and movements of other countries’ military fleets.

Trevor Paglen, Untitled (Predator Drones), 2011
C-print, 122 x 152

In addition to the spy satellites, Paglen has managed to identify and photograph another type of government control device and military tool that occupies public space. In the blue image, a series of predator drones, i.e., remotely controlled aerial attack vehicles, can be discerned with some difficulty. The drones are perhaps the tools of surveillance and attack most recently used by the U.S. Air Force and the CIA.

Viaje a La Luna

Tania Pérez Córdova, How to use reverse psychology with pictures, 2012-2013
Artificially aged fabric (once black).
Linen, 150 x 96 cm

Reverse psychology aims for an outcome contrary to the desired one. In this piece by Tania Pérez Córdova, an artificially aged fabric plays with the tension between what the mind expects of an object and how the senses perceive it. In her work, Pérez Córdova explores the interconnection between visibility and faith in things’ ways of being. Originally black, the fabric has assumed a creamy color and in some parts it has become wrinkled and its weave has been broken. Challenging the logic of objects’ natural course of wearing out, the fabric stands out as a sort of temporal compression, and, furthermore, as a challenge to what we would wish to believe.


Tania Pérez Córdova, Temporarily magnetized objects 4, 2007
Silver gelatin print, 20.32 x 25.4 cm

Temporarily Magnetized Objects is a series of photographs of amorphous objects that were temporarily magnetized, the sensory experience of which is denied to us since we only have access to images of the objects. As in other of Pérez Córdova’s pieces, the work is an index of a situation to which we no longer have access, and the record of it almost takes on the nature of a prop. The unstable, incomplete, and inaccessible object is, paradoxically, the promise of a state that has passed.


Performance, Persian rug, dog.

From June 4th to the 22nd, 2013
Exhibition hours: Tuesday to Friday / 16:00 – 18:00 Hrs. Saturday / 12:00 – 14:00 Hrs.

A dog is given the instruction to ‘play dead’ on a Persian rug at different times during the exhibition.
“… what is ostensibly a memento mori, or more literally speaking a still life, or even better in French, a nature mort (dead nature), is but a specious reminder of death. ‘A specious reminder’ in the sense that not only is the dog not dead, but dogs, as is well known, do not die, since they do not know, as far as we know, that they can die. Of course, this does not mean they do not cease to exist, but their deaths are not anticipated by the anguish of death nor succeeded by the ceremony that acknowledges it. Thus is the fact of making them “play dead” but an egregious, self- indulgent anthropomorphism –one which, incidentally, becomes symbolic of the will to anthropomorphize tout court.”

Extract from essay on Tragedy by Chris Sharp, 2012

Tragedy Teaser

From April 9 until May 5th, 2013


Exhibition view
Montealbán, 2013
Two photographs, 50 stamps

An action that consisted of extracting a stone from the archeological site of Montealbán, in Oaxaca, Mexico, which was then pulverized in order to make 50 stamps on paper of pre- hispanic origin, with the image of a house. This project stands for the houses that were torn down in 2009 by the police, after 50 families (whose genetic origin goes back to those of the original founders of Montealbán) invaded the surroundings of the antique settlement.


Espantapájaros (Scarecrow), 2009
1.18 min.

This project consists of a series of interventions in an area in constant conflict, due to the irregular sale of land and the superstition of its inhabitants.


Mártires (Martyrs), 2012
1 photograph, 24 wooden nails, 10-12 cm

Imitation of forged nails carved from a piece of wood, cut illegally in Southern Mexico.


Zapata, 2013
Soil from the Chinameca ranch, marble container
100 x 70 x 18 cm

Is a tombstone covered with soil from the Chinameca Hacienda, where Emiliano Zapata was killed. The work takes the soil from the site, including seeds from that place; the intention is to let the plants grow, watering them constantly until the soil becomes completely infertile due to natural wearing out and erosion. This gesture is established as a metaphor about the way contemporary society identifies the revolutionary icon of Emiliano Zapata, an image so worn out that ends up becoming sterile.


Pesos, 2008
Scale, 9mm bullet and soil.
Variable dimensions

Is a thought provoking work on the idea of territory from the vernacular culture in relation to the social and legal justification that exists in our society –particularly in rural and local communities– where people have the right to kill if their land or space is invaded. It’s a game of parity that compares the weight of a bullet with a handful of soil, which is a symbol used at funerals to say goodbye to the deceased. The bullet on the other hand, is a 9mm one that although illegal, is commonly used in Mexico.


Diez centavos (Ten cents), 2008
10 Kt gold

Coin of the lowest denomination casted in gold.


Silver Inc., 2013
Variable dimensions

Is a phrase that was publicly shared in 2011 against Canadian mining in Oaxaca. The artist creates a set of meanings as the phrase is made of the same materials extracted from the land protected by the communities. The result is a type of graffiti made of silver lettering.


La encomienda (The assignment), 2012
HD video
4:45 min.

This artwork consists of the elaboration of a symbolic protest in an abandoned mine where a chorus executes a composition with a barroque tone; the composition is inspired by the slogans against mining companies in many Latinamerican countries.


Untitled, 2013
Digital print
45 x 33 cm.

From February 27 until March 23rd, 2013
The Wittgenstein Suite –with the both meanings implied in this word– are composed by thirteen songs stemming from texts by the philosopher Ludwig Wittgenstein and conform the core of the collaboration between the artists, José León Cerrillo and Saralunden. The lyrics of the songs are based on elements of Wittgenstein’s book, Bemerkungen über die Farben (Remarks on Color) and were written between 2009/2011. In harmony with Wittgenstein’s theoretical investigations on the ways one can speak about color and transparency, the performance series is constructed around shadows, projections, and music.

The Wittgenstein Suite

The first installment of the series was performed as part of and within the context of José León Cerrillo’s exhibition Hotel Eden, in 2009 at Proyectos Monclova, Mexico City. The exhibition investigated the potential behind the possibility of an abstract grammar. Framed by a series of shadows created by various structures inside the gallery, Saralunden sang the first in a sequence of several songs. For the second part of The Wittgenstein Suite, the entire performance was incorporated like a shadow projected on the windows of the Schindler House in Los Angeles, problematizing as such, a Modernist icon. It suggested an inevitable platonic association without leaving behind an ironic reconsideration; the title of the second iteration was, Schindler ́s window/Plato ́s Cave (2011). The third part, Hotel Eden Revisited (2012), was the end of The Wittgenstein Suite, echoing the previous works and placing the performance within 10 index-like open panels that synthesized graphical elements of previous iterations.

The Wittgenstein Suite
The Wittgenstein Suite
The Wittgenstein Suite
The Wittgenstein Suite
The Wittgenstein Suite

Unstable Example, 2013
96 x 76 cm
Iron, enamel

The Wittgenstein Suite
The Wittgenstein Suite
The Wittgenstein Suite

The Wittgenstein Suite Box Set, 2011
in collaboration with Saralunden.
LP discs, acrylic cases, silkscreens on variable mediums.

The Wittgenstein Suite
The Wittgenstein Suite

Eco (44:II), 2013
Silkscreen on cotton paper
74 x 55 cm

The Wittgenstein Suite

From November 29, 2012 until January 26, 2013

In many growing cities, in areas of low-income housing, it’s common to find piles of abandoned concrete blocks waiting for their last functional use: to become part of a constructive system, sometimes related to an expansion and /or improvement.

These concrete blocks are also found in irregular settlements at the margins of urban developments. Inhabitants from these areas are banned to use these blocks because of their durability, so housing is usually built with fragile materials. Despite this prohibition, the population gains access to these blocks, most of the times used ones, and treasure them as patrimony with the hope of being able to use them one day, in the construction of a more dignified housing.


These blocks, basic construction units, embody the possibility for improving the living conditions of people. However, when these blocks are found in a state of potential construction, it is difficult to disregard them as ruins.
For this project, Tercerunquinto has established an economy circuit by requesting inhabitants from an irregular settlement in Monterrey to collect used, old or abandoned concrete blocks. The first hundred units will be collected within the community.* When the blocks run out in this area, these people will continue their search in neighbouring districts and so travelling across the city.
Each collected unit will be paid as a way of economical agreement. The recovered blocks will be sent from Monterrey to Mexico City periodically and will be arranged in the gallery space to progressively cover its walls.

In order to accomplish this economical circuit, Tercerunquinto has proposed the gallery directors to maintain the agreement with the people collecting the units, for as long as any interested collector in acquiring the work would like to. This way, the collector will actively participate in the project by determining the length of the agreement and deciding upon the volume of the recollected blocks.
At the extremes of this work, two forms of agreements are evident and distinguished by their economical scales, intersected by the piece that Tercerinquinto and Proyectos Monclova have negotiated.

November, 2012


Exhibition view. Stage one.
Construction blocks


Exhibition view. Stage two.
Construction blocks


Exhibition view. Stage three.
Construction blocks


Constructive Units (Graphic Exercices), 2012
Mixed media on paper
24 x 19.5 cm


Intercambio de unidades constructivas (Construction units exchange), 2012
Lightjet print
Open series (during the time of the exhibition)
26 x 37 cm


From October 13 until November 11, 2012

The works in the exhibition belong to a sequence that developed during four years. Each one of the components of the show is interrelated to the others, and each virtual splice is there to create multiple short circuits of meaning. The negative spaces between the pieces host many ellipses, fields of reflection that are a subcutaneous to the broader field.

An experience un Cali, Colombia, leads to Wroclaw in Poland; then to Egipt, and from Egipt to Peru. From the Marcahuasi plateau in the outskirts of Lima, to the valley of Tepoztlán in the outskirts of Mexico City and on to the stone forest of Fointainebleau near Paris. From Daniel Ruzo to Jacobo Grinberg-Zylberbaum; from Grinberg to Antonio Velasco Piña and the living myth of Regina. From Regina to Mexico’s contemporary reality. From 1948 to 1968, from 1942 to 2012… and on to an extraordinary dream with Barack Obama.

Francois Bucher
Francois Bucher
Francois Bucher
Francois Bucher

The Duration of the Present, 2012
Mixed media, variable dimensions

A neuro-physiology experiment by Jacobo Grinberg-Zylberbaum demonstrating the Einstein Podolsky Rosen paradox (spooky action at a distance) beyond the subatomic level, when testing the interconnection of the brains.

Francois Bucher

The Man Who Disappeared. (1st Chapter), 2011
HDV, video, color, sound, 22 minutes; Spanish with English subtitles

The video ends with a statement about the idle state of contemporary man, a being who
knows nothing about itself, and who doesn’t even remember how to ask the questions
that concern it. As the mountain keeper of Amatlán, Don Aurelio would say: we turn
ourselves off (we turn off our vision) as we turn on the TV (the blinding fallacy of artificial tele-vision).
Jacobo Grinberg – the man who literally disappeared in 1994 – states that it is to this man of our times that he addresses his own Syntergic Theory. Because it is to him that he offers a possible center, amidst the prevalent dispersion. Through this theory, Grinberg says ‘ we will be at the very root of the creation of any reality… ‘.

Francois Bucher

The work is nevertheless able to speak about the construction of the image in the sense that Art understands it, and about nature of language. Shamanism is used as a paradigm: the shaman as a being of coherence. And this coherence translates as a being in touch with a Language that produces, transforms, ACTS on the world, in the multi-sphere of what we have, until now, called the sacred. Language in a convex form, rather than concave (referential); a geometric construction, a crystal which plays upon meaning in a pluri- vocal resonance, a power generator, a materializer and a de-materializer of the real.

Francois Bucher

The Norway Experiment, 2011
Black and white photographs, text
Digital print. 80 x 120 cm

In August 2011 I organized an expedition to the Arctic Circle, North of Norway, in the Lofoten Islands to conduct an experiment. I invited some people to come along, amongst them a scientist who specializes on neuronal level indicators of the effects of hallucinogenic substances, and a doctor, a psychiatrist who is now a play writer. The other guests were people who had had animated dialogues with the world of dreams and subtle vision. My main guest was Isaias Mavisoy Jansasoy, a shaman, a Taita from the Inga tribe in the Putumayo region of Colombia. The idea was to draw on the difference between the inter-dimensional beings, or egregores that Isaias could perceive in the north of the planet -during a sacred ceremony- opposed to those that are generally found in his native Amazon jungle.

Francois Bucher
Francois Bucher

La segunda y media dimensión – Una expedición a la meseta fotográfica, 2010
Técnica mixta, en dimensiones variables.

Francois Bucher
Francois Bucher

Holographic capture. Tepoztlán, 2010. Found wood.

Francois Bucher

Egregor, 2012
Photograph and letters

In 1972 an experiment was made in Toronto, Canada. Eight renowned psychics devoted an entire year to summon a character that they had created. In other words, before the invocation, they had invented the name of the entity and its biography. The experiment was a success and Phillip –the name they had given it– shook the table and answered questions according to the profile previously assigned to it by the group. The Phillip Experiment is the name of this case, and it is accurate in its reference to that mysterious word: Egregore.
Egregore is also a word that can be used to refer to the hypercomplex field which is created by the collective mind. For instance, when you open the door of the airplane in Mexico City you get in contact

with the LIVING BEING that is the sum of all Mexican consciousnesses, the egregore of Mexico, of the Mexican nation. In the year 2012, while trying to explain myself the story that Antonio Velasco Piña wrote as a witness –those are his words– I wondered who had slept in the bed of the house located in Calle Alumnos, in San Miguel de Chapultepec; the house where Regina spent a few months in 1968 after her journeys in Tibet and China. All this is written in Velasco Piña ́s book called Regina. For me there were two paths: to seek an audience with the Dalai Lama, who had purportedly known the Mexican avatar when she was just a girl, in the 1950s… or to speak directly to Regina. I decided to invite a Mexican medium to spend a hours in that room and to channel whatever came to her in there. Words, phrases or paragraphs will continue to appear during the exhibition period.
… as Antonio told me in an interview: “Regina’s story is not mine, if I had not written it, someone else would have found it in the stars.”

Francois Bucher

The World Was Flat, Now It’s Round, And Will Be A Hologram, 2012. Mix media, variable dimensions

Francois Bucher

The Tranferred Potential, 2012
Phone cables

A neuro-physiology experiment by Jacobo Grinberg-Zylberbaum demonstrating the Einstein Podolsky Rosen paradox (spooky action at a distance) beyond the subatomic level, when testing the interconnection of the brains.

Francois Bucher

September 5 – 29, 2012

Nothing is new, neither is anything old.
-Robert Smithson, 1967

The works on show here are for the most part drawings made up of horizontals, verticals, diagonals, and sometime even curves, mapping areas that are often square and outlining multicolored, unlikely geometrical territories.
Two series confront each other: one in exponential expansion, the other organic; one reasonable and coldly logical, the other random and deliciously capricious. In a seemingly limitless interplay of combinations, Eduardo Terrazas explores the possibilities provided by compasses, rulers, acrylic paint and wool.
Ahead of its time in many ways, his oeuvre—largely given shape during the 1970s—abundantly prefigures the paths taken by younger artists since then. It should be pointed out that he has long been a globetrotter—since well before art nomadics became a religion—and that he was quick to grasp the creative potential of Mexico’s streets.

Eduardo Terrazas

Inspired by art movements seen and absorbed during his travels abroad, his work is very much a part of what the 1960s were fomenting.
While there are patent influences from Argentinian concreto, Brazilian neoconcreto and Op Art, he did not turn a deaf ear to the provocative siren song of mid-60s psychedelia—at the very least he produced his own version of its chromatic consequences.
One particular encounter would lead to symbiosis between these passions for the structural and the vernacular: in 1971 Eduardo Terrazas began working with Santos Motoaaopohua de la Torre de Santiago, and over a period of four years they produced an extensive series of colorful geometrical compositions using wool fixed to wooden boards with Campeche wax.

Resurfacing unpredictably and at irregular intervals, the Eduardo Terrazas oeuvre makes light of the demands of time.

— Michel Blancsubé

Eduardo Terrazas
Eduardo Terrazas
Eduardo Terrazas
Eduardo Terrazas
Eduardo Terrazas
Eduardo Terrazas
Eduardo Terrazas
Eduardo Terrazas

From April 16 until July 16, 2012

people, something, people.
A photograph (turned sideways) of two people, one of them is looking past the frame, then, gold tape, then, someone else (from outside) looking at this.

Somehting (around, and back)
An aluminum bar (8.07 feet) held by pressure between the floor and ceiling. The aluminum was gilded (with the same process used to gild cheap trophies {once, aluminum was more valuable than gold}).

Dear Mr. _____ (from a desert to a mountain to a waterfall)
Three landscapes (Flickr), Epson 9800 Inkjet plotter.

80 cm x 246 cm
Wood, 2 x 4 x 84 cm

Dear Mr. ___(from a desert to a mountain to a waterfall)
Three landscapes (Flickr), Epson 9800 Inkjet plotter
Dear Mr. __, print the desert photo and then rewind the paper (manually) to the beginning of the roll and print the mountain photo directly on top. Then, once again, rewind the roll of paper back to the beginning and print the waterfall photo on top. It doesn’t matter if the result turns out completely black. You must leave extra paper, the final result should measure 2.46 meters.

Live Chat.
Fluorescent marker emptied out in water.

, An approximation of the previous work, drawn, same size. Digital print on gray silk.

Digital print on silk.

80 x 246 cm. Wood 2 x 1 x 130 cm.

Materials for lifecasting
Alginate is the preferred material for quick molds (4 min). It is used to make detailed replicas as it can even capture skin pores. Alginate molds should be used during the first 24 hours given that the used material will shrink and distort as water evaporates, reducing its size up to 40%. From “Prop Builder’s Molding and Lifecasting Handbook.”

Person leaning on his head, an extra.

Person leaning on his elbow, an extra.

Untitled. Sculpture that started out the same size as the shelf.

Untitled (momentmaterial). Sculpture that started out the same size as the shelf.

Speculation is useless (for exteriors)
Anodized aluminum. 4.5 x 10 x 108 cm.

From February 4th until March 23rd, 2012

Aleksandra Domanović’s work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances. Most recently, Domanović has turned her attention to the complex ways in which image culture and information flows have been formed within the postwar environment of former Yugoslavia.

In performances, videos, and installations, Sharon Hayes examines the intersection of history, politics, and speech, with a particular focus on the language of twentieth-century protest groups. By appropriating the tools of public demonstrations, Hayes reconfigures the images of the protestor in a manner that destabilizes the viewer’s expectations and opens up the possibilities and challenges of reviving past models within a cyclical present. Staging protests, delivering speeches, and ‘performing’ demonstrations, she creates interventions that highlight the friction between collective activities and personal actions.

Domanovic Hayes

Aleksanda Domanović
19:30, 2010/11.
HD video, color, sound. 11 min.

Taking its title from the time slot of the evening television news programs in former Yugoslavia, Domanović’s project 19:30 is an anthology of the newscast titles and musical themes from the first televised Yugoslavian news broadcast in 1958 up to the present, and a collection of their commissioned remixes, edits, and new versions. The work began in 2010 when Domanović traveled around the former republics of Yugoslavia, visiting the television networks and national archives of Bosnia-Herzegovina, Croatia, Montenegro, Kosovo, Macedonia, Serbia, and Slovenia. She invited techno DJs to collaborate on the project, who used the material Domanović had collected as samples to mix their music. The project juxtaposes the musical, historical, and psychological values of two different collective experiences: watching the evening news, which drew masses of people of all nationalities in former Yugoslavia to sit in front of their television sets at 7:30 pm every evening, and the power electronic dance music had in bringing the youth of these nations together.

Domanovic Hayes

Sharon Hayes, I March In The Parade of Liberty But As Long As I love You I’m Not Free, 2007/8
Audio installation (1 PA system), spray-paint on paper. Frame: 65 x 50.8 cm

In recent projects, Hayes weaves intimate speech into a context as a means to further implicate the individual voice in the body politic. In I March In The Parade Of Liberty But As Long As I Love You I’m Not Free, for example, performed from December 2007 to January 2008 in New York, Hayes addresses an anonymous absent lover through a bullhorn. While talking about love and desire, she brings up the war in Iraq, and the way in which the war interrupts our daily lives, our activities, our desires, our love. Continuing the artist’s interrogation of the infinitesimal distance that separates the public from the private, this work is a reflection on the difference between speaking and listening — a kind of confession combining the idiom of politics, the transmission of secrets, and the language of love.

Domanovic Hayes

Aleksanda Domanović (born 1981 in Novi Sad, former Yugoslavia) lives and works in Berlin. Forthcoming solo exhibitions in 2012 include: Kunsthalle Basel (curated by Adam Szymczyk); Villa du Parc (with Oliver Laric), Annemass, France; SPACE, London; and Tanya Leighton Gallery, Berlin. Her work is currently being exhibited at the Kuenstlerhaus Bethanien, Berlin (solo) and Sculpture Center, New York. She has been commissioned to create a large public artwork for the 4th Marrakech Biennale (29 February – 30 May 2012). Recent exhibitions include: ‘Banal Inferno’, CCA Glasgow (2011); ‘The Present’s Present’, Centré d’art Nechâtel, France (2011); ‘based in Berlin’, n.b.k., Berlin (2011); ‘Imagine being here now’, The 6th Momentum Biennial, Moss, Norway (2011); ‘Free’, New Museum, New York (2010).

Sharon Hayes (born 1970 in Baltimore, Maryland, USA) lives and works in New York. Forthcoming solo exhibitions in 2012 include: Reina Sofia, Madrid; The Whitney Museum of American Art, New York; and Tanya Leighton Gallery, Berlin. Her work is currently being exhibited at: The Art Institute of Chicago (solo); Frankfurter Kunstverein, Frankfurt am Main; Museum of Modern Art, New York; Deutsche Guggenheim, Berlin; Michel Rein Gallery, Paris; Marginal Utility, Philadelphia. Her work has been exhibited in international exhibition spaces, including: 54th Venice Biennale; Istanbul Biennale; Yokohama Triennial; Auckland Triennial; Documenta 12 (collaborative project), Kassel; Generali Foundation, Vienna; P.S. 1 Museum of Contemporary Art, New York; Guggenheim, New York; the Whitney Museum of American Art, New York; Museum Moderner Kunst (MUMOK), Vienna; The Warhol Museum, Pittsburgh; Artists Space, New York; Art-in-General, New York; New Museum of Contemporary Art, New York; Lisson Gallery, London; Tate Modern, London; Kunstmuseum St. Gallen.

From September 9 until October 30, 2011

John Menick
Music for Insomniacs, 2011

Music for Insomniacs

Olivier Laric
Variations, 2010
HD color video, sound.
9 min.

Music for Insomniacs
Music for Insomniacs
Music for Insomniacs

Theo Michael
Transhumanist Globe, 2011
Collage, lambda print, aluminum frame

Theo Michael
The Human Highlight Film, 2011
Collage, lambda print, aluminum frame

Music for Insomniacs
Music for Insomniacs

From July 16 until August 13, 2011

Two Ways to Fall, the title of this exhibition and one of the works in it, is taken from a country song about falling in and out of love. The show addresses a sense of balance between moving and falling forwards or backwards in time as well as the own past and possible future of materials.
Outside on the terrace a ladder is leaning against a large volcanic rock. Beginning Happening (Fig.8), (2011) continues a recent sculptural series by Marie Lund in which domestic objects are slightly carved into rough stones. The mineral and prehistoric material in relation to cultural and functional objects indicates human scale and suggests figurative shapes that could appear within the solid material.
Two Ways to Fall (2011) is suspended from the ceiling, balancing two elements. Both organic and weathered by time, having lost and gained weight, the two objects meet at this specific point in time.

Two Ways to Fall, 2011
Wood, fossil shell.
100 x 150cm.

This exhibition looks at the permanence and transformation of objects; the way materials are modified by human in the shaping, carving or constructing of an object, or how they are weathered by time. Bump and Hollow (2011) looks at a surface between the inside and the outside of the object, and the inner and outer shape of the space it is placed in. A bronze object that has been placed underneath the gallery floor is only indicated by its own shape: the bump it creates when pushing itself into the space.
The exhibition also includes two texts by Francesco Pedraglio from his ongoing series of writings Theory of Budapest (Fragmented entries of an object’s diary).