Wed, Oct 17 2012 2012, galleries, Jan Mot, kurimanzutto, LABOR, Mariana Castillo Deball, MUAC, museo tamayo, México, Paloma Polo, Pierre Huyghe, Proyectos Monclova, Rirkrit Tiravanija, Terence Gower, Wilfredo Prieto
Following Latitudes recent trip to Mexico City for our project at Casa del Lago (see a slideshow of the five tours we realised around the city with artists Minerva Cuevas, Tania Pérez Córdova, Jerónimo Hagerman, Diego Berruecos, and Terence Gower), here's a run through of some of the other museum and gallery exhibitions which we had time to see in the city. LABOR and kurimanzutto both opened on the 20th September. LABOR's solo exhibition of Terence Gower (one of the five artists invited by Latitudes as part of the 'Incidents of Travel' project documented at Casa del Lago). His 'Ottagono' exhibition presented new and old works "that extended the artist investigation into the realm of abstract art" (quote from the press release), including the 2010 video "New Utopias", "Noguchi Galaxy" (2012), the sculpture group "Display Modern (Hepworth)" (2007) as well as paintings on photographs "Latin American Architecture" (2012), amongst others.
The Museo Experimental El Eco also had a book launch that evening, and upstairs the project "FRANCE FICTION: Vinimos a soñar" by Paris-based curator Jennifer Teets could be seen. kurimanzutto began the 2012-13 season with Untitled 2012, (All those years at No. 17E London Terrace), a collaboration between visual artist Rirkrit Tiravanija and musician Arto Lindsay, for which the artist recreated Lindsay's New York flat and copied around 2000 CDs and books he has had in storage in New York. Lindsay played the following day at Cine Tonalá and hung out in his new plywood mexican home the following week recording music and talking with visitors. Also, in the project space, was Paloma Polo's 'Posición Aparente' (recently exhibited as part of Reina Sofia's Fisuras programme). On view until 3 November. ( gob. Rafael Rebollar 94, Col. San Miguel Chapultepec, 11850 México D.F.) http://www.kurimanzutto.com
During installation we escaped for a lunch break and a visit to the recently extended Museo Tamayo Arte Contemporáneo in the Bosque de Chapultepec. The Tamayo hosted an impressive roster of exhibitions: two group shows and three solo presentations, besides a selection of Tamayo's work: 'Primer Acto' (a group show on the idea of inauguration and the opening act), 'El mañana ya estuvo aquí' (a group show with works around the idea of retrospective visions of the future of modernity), Ryan Gander's 'Boing, boing, squirt'; Pierre Huyghe's 'El día del ojo' (a three part piece consisting of a permanent sculpture of a fish tank with blind fish and volcanic rocks; a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca; and a publication) and the project 'Nueva Matemática' by Michael Stevenson.
Wilfredo Prieto's red carpet welcomes visitors.
SUPERFLEX's visitor counter outside the museum.
Central courtyard with Pierre Huyghe's fish tank with blind fish and volcanic rocks (background and below); a selection of works from the Museo Tamayo y del Museo de Arte Prehispánico "Rufino Tamayo" in Oaxaca.
The day after our Casa del Lago opening we visited the Museo Universitario Arte Contemporáneo (MUAC) which had shows of Edgardo Aragón ("Por amor a la resistencia"), an impressive Teresa Margolles piece, "La Promesa", following the focus of her long-term investigation on Ciudad Juárez as a political and social context, and "Ejercicios de Resistencia" by Nicolás Paris. Downstairs there was an archival display of Felipe Ehrenberg's collection fund.
Façade of the museum in the University (UNAM) campus.
Entrance foyer and lower level.
Stairs to the restaurant, auditorium and library.
At MUCA-Roma we visited the group show "Colección: El crimen fundacional, crítica del museo' curated by first graduating students in the Curatorial Programme of UNAM's Art History degree, which included Mariana Castillo Deball's piece 'It rises or falls depending on whether you're coming or going. If you are leaving, it's uphill; but as you arrive it's downhill' (2006), presented in 2007 in the Latitudes'-curated exhibition 'Extraordinary Rendition'. The piece revisits a popular legend around the looting and transportation of the colossal stone statue of Tláloc to the National Museum of Anthropology in Mexico City in a series of lithographs. Our final stop was Proyectos Monclova, which has relocated to a new and much larger space in Colima 55 (Col. Roma) with a solo show of architect Eduardo Terrazas (best known for his graphic design for Mexico's 1968 olympics realised in collaboration with Lance Wyman and Manuel Villazón.) Terrazas was concurrently exhibiting some works at the Casa Luis Barragán. The final gallery space was screening a fantastic slideshow with the 1968 work "Imagen México" accompanied with a soundtrack of 1969 songs. The exhibition finished on 29 September. See video of the opening here (via Vernissage TV) and a recent newspaper article.
Façade of the gallery.
Central gallery space.
Some of Terraza's works on view in the central space.
1970-1972 works on view in the back gallery space.
Showroom nearby the gallery offices.On Saturday 29th there was a tour (Ruta de Galerias, see video by Vernissage TV) around San Miguel Chapultepec and Tacubaya art spaces (participants included: Archivo Diseño y Arquitectura, Casa Luis Barragán, Central Art Projects, Galería de Arte Mexicano, Gallé Antigüedades, Jan Mot, kurimanzutto, Labor, Estacionamientos San Miguel Chapultepec, and Fundación Alumnos47). We started the day at the Museo de Arte Moderno, with a launch of the publication "History of the World" and in conversation between L.A.-born Guadalajara-based artist Eduardo Sarabia and Patrick Charpenel, collector and director of the Colección Jumex.
The tour was followed by a quick burger lunch at Café Zena in the corner of Gob. Potasio Pérez de Tagle and Antonio de León. ...and then back to kurimanzutto, where Arto Lindsay was having a conversation with Carlos Icaza, discussing a selection of his books and CDs, talking about the changes in music technology and supports (from vinyl to CDs), mexican, brazilian and japanese musicians.
From there we visited Jan Mot's space (Gob. José Ceballos 10, Col. San Miguel Chapultepec, 11850 México D.F. www.janmot.com), which presented Manon de Boer's "One, two, many", recently also presented for dOCUMENTA (13) (see Latitudes' comprehensive blog post here). On view at until 17 November. On our final evening in Mexico City we went to Sala Arte Público Siqueiros, where cuban artist Wilfredo Prieto celebrated the beginning his 45-day project "Dejándole algo a la suerte" (Leaving something to chance, until 12 November). For the duration of the exhibition Prieto occupies the upper gallery of the SAPS which has been turned into a studio from where he develops and conceptualises works to be presented on a daily basis on the lower gallery space (see here for those who have already taken place). On October 4th, the (non) opening day, the project began with 'Dos Tiempos': the encounter of a hare (named Raúl) and a terapin (Anastasia).All photos: Latitudes | www.lttds.org (except when noted otherwise in the photo caption)
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