Posts Tagged ‘Mexico City’

La Ciudad Está Allá Afuera: Demolición, Ocupación y Utopía [The City Is Out There: Demolition, Occupation, and Utopia]

José Adrián Monroy López, Núcleo [Core], 2016; polypropylene weave. Courtesy of Centro Cultural Universitario Tlatelolco, UNAM. Photo: Tania Puente.

If we googled the word “megalopolis,” it is most likely that an image of Mexico City would appear in the search. The capital of Mexico has 9 million inhabitants, and a floating population of almost 2 million people who travel every day from the adjacent suburbs to study, work, and shop. This concentration of humans turns the city into a bustling social and cultural center,[…..]

Juan Acha: Por una Nueva Problemática Artística at Museo de Arte Moderno

Hersúa. Model of Sculptoric Space (Maqueta del Espacio Escultórico) 1979. Photo: Ramiro Chaves.

Juan Acha is finally getting some recognition. Try searching for his texts in English and you will find a handful of articles about his importance, but little directly from the man who remains one of Latin America’s most relevant contemporary art critics and theoreticians twenty-two years after his death in 1995. As a remedy, Juan Acha: Por una Nueva Problemática Artística (Toward a New Artistic[…..]

From the Archives – La Polis Imagi-nada at El Quinto Piso

Liz Misterio. El regreso de Ana Suromal, 2015 (action-art still); action-art and video projection. Courtesy of the artist and El Quinto Piso, Mexico D.F. Photo: Liz Misterio.

While nation-states elect or appoint internationally recognized power brokers, real politics emerge on the ground in the lived experiences of our communities, in the polis. In the face of shifting national and international politics, local communities must commit to uphold human rights. In that spirit, San Francisco’s Board of Supervisors recently dismissed threats of funding cuts by the President-elect and affirmed the city’s commitment to[…..]

Carla Rippey: Resguardo y Resistencia at Museo de Arte Carrillo Gil

Carla Rippey. Cuando mi sangre aún no era mi sangre, 2008-2016 (detail); photo-transfer and sewing on paper; dimensions variable. Courtesy of the Artist and the Museu de Arte Carillo Gil, Mexico City. Photo: Jorge Gomez del Campo.

Upon entering Carla Rippey’s retrospective, Resguardo y Resistencia,* at Museo de Arte Carrillo Gil, the viewer is confronted by a large-scale installation that presents a multiplicity of themes carried throughout the exhibition. The installation, Cuando Mi Sangre Aún No Era Mi Sangre [When My Blood Was Not Yet My Blood] (2008–16), consists of dozens of historical archive images transferred onto paper and intervened upon with sewn marks.[…..]

Summer Session – Mónica Mayer: Si Tiene Dudas… Pregunte at Museo Universitario de Arte Contemporáneo

Mónica Mayer. Lo normal, 1978 (detail); print intervened with stamps, 10 cards. Courtesy of the artist and Museo Universitario Arte Contemporáneo.

In keeping with this month’s Summer Session theme of labor, today we revisit Tania Puente’s essay on feminist artist Mónica Mayer’s retrocollective at Museo Universitario de Arte Contemporáneo. Among Mayer’s socially reflexive work is an emphasis on revealing women’s hidden labor, especially the emotional labor of motherhood, marriage, and sexual objectification. This article was first published on March 1, 2016.  Si Tiene Dudas… Pregunte [When in Doubt… Ask][…..]

G.T. Pellizzi: Yo Transporto at Sala de Arte Público Siqueiros

G.T. Pellizzi. Yo Transporto, 2016; wood, plywood, Ethafoam. Courtesy of Sala de Arte Público Siqueiros.

Art travels. Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections. Although this wandering condition may enrich the experience of different public spheres by bringing them closer to popular works and major exhibitions, the accelerated speed at which these movements and spectacles take place commands a huge[…..]

Andrew Birk: Callejero at Anonymous Gallery

Andrew Birk. Callejero, 2016; installation view, Anonymous Gallery, Mexico City. Courtesy the artist and Anonymous Gallery, Mexico City.

Andrew Birk is a gringo. I don’t mention this as an insult—I’m one too, after all—but to give some context to his work. The Portland, Oregon, native has lived in Mexico City since 2011 and has a clear affinity for the cacophony and vibrancy of this dense, sprawling metropolis. It is with the fresh eyes of an outsider that Birk is able to translate the[…..]