Mexico by Peeping Tom / Orlando Jiménez By

Home , Arena Coliseo, Cavernario Galindo, El Dandy, Gabriel Orozco, Jan Hendrix, Joy Laville

Abraham Cruzvillegas by Patrick Char-

penel / Adriana Lara by Eva Svennung /

Agustín Coppel by Macarena Hernández

/ Alejandro Almanza Pereda by a col-

lective of two ghost writers / Begoña

Morales by Jessica Berlanga Taylor

& Luis Ramaggio / Carlos Amorales &

Nuevos Ricos by André Pahl / César Cer-

vantes by Macarena Hernández / Charro

Negro Galería by Chloé Fricout / Demián

Flores & the Oaxaca scene by Guillermo

Fricke / Edgar Cobián by Jessica Berlanga

Taylor / Eduardo Sarabia by Jorge Mun-

guía Matute / Gaga Arte Contemporá-

neo by Magnolia de la Garza / Galería

de Arte Mexicano by Patricia Martín /

Gonzalo Lebrija by Michel Blancsubé

/ Guadalajara art scene by Gerardo

Lammers & Geovanna Ibarra / Guillermo

Santamarina by Kerstin Erdmann / Jorge

MunguÍa Matute by Daniela Pérez / Jorge

Sosa & José Luis Cortés-Santander by

Alejandro Almanza Pereda / José León

Cerrillo by Mercedes Nasta de la Parra

/ José Noé Suro by Cynthia Gutiérrez /

Kurimanzutto by Magnolia de la Garza

/ LABOR by Magnolia de la Garza / Mar-

Digest 2 cela Armas by Jessica Berlanga Taylor An exploration of the Mexican contemporary art scene / Mariana Munguía Matute by Peeping

Tom / Michel Blancsubé by Peeping Tom

/ Miguel Calderón by Daniela Pérez /

Miguel Monroy by Ruth Estévez / OPA

Mexico by Peeping Tom / Orlando Jiménez by

André Pahl / Patricia Martín by Peeping

Tom / Patrick Charpenel by Macarena

Hernández & Magnolia de la Garza /

Petra by Montserrat Albores & Pablo

Sigg / Proyectos Monclova by Magnolia

de la Garza / Ricardo Alzati by Pip Day /

Silverio by Peeping Tom / Tania Pérez

Córdova by Magnolia de la Garza / Ter-

cerunquinto by Daniela Pérez / Yoshua

Okón & SOMA by Peeping Tom / Foreword

by Carmen Cebreros Urzaiz / and MORE Nirvana Paz

Guillermo Santamarina Zony Maya

Arturo Limon

Rodrigo Navarro

Carlos Reyes

José Davila AAVI Christian Jankowski Nina Beier Diego Berruecos Bruno Ruiz Jose Perez Lopez Carissa Rodriguez Nina Beier and Marie Lund David Birks Claire Fontaine Mario Garcia Torres Tomas Lopez Rocha Riccardo Nicolayevsky Omar Gamez Martha Helion Napoleón Habeica Eduardo Sarabia José León Cerrillo OPA Fernando Palomar María José López Allan Fis Ruben Mendez genealogy Alex Hubbard Maurico Maucin Ricardo Cuevas Christian Jankowski Centro Cultural Universitario Tlatelolco Charro Negro Galería Mariana Osorno Casino Metropolitan Museo de Arte de Zapopan Rafael Uriegas et Leonardo Cárdenas Vogel MAZ MUAC Antek Walczak Carlos Licon Isaac Contreras Emanuel Tovar Tercerunquinto Anales Édgar Cobián Marco Casado Gonzalo Lebrija Galeria Arena Mexico Benjamin Torres Magali Arriola Daniel Alcala Proyecto Liga Agustin Gonzales Karl Holmqvist

Humberto Duque La Vitrina Miho Hagino Ex Teresa Enrique Jezik Fernando Palomar Rebel Cats EDS : soda liquid Proyectos Monclova Gaga Fernando Montiel Klint Arte Contemporáneo Francisco Ugarte Gabriel Rico Jimenez Naomi Uman Ilian Gonzales Felipe Manzano Fernando Mesta Jaime Ruiz Abraham Cruzvillegas Gabriel Rico Javier M. Rodriguez Marcos Castro Jay Chung and Veronica Flores Ariel Orozco Q takeki Maeda Cynthia Gutierrez Mariana Mungia Nathalie Regard José Rojas Codigo

Livingartroom Viviana Kuri Collection Lopez Rocha Augusto Marban Patrick Charpenel

Cristian Franco Luis Alfonso Villalobos Larva Xavier Rodriguez Patricia Sloane Paulina Lasa PAC

Octavio Abundez José Noé Suro Galería Museo de las Artes Curro y Poncho MUSA Eduardo Sarabia Instituto Cultural Felix Curto Abarrotera Mexicana Alfonso Arroyo Diego Teo Jorge Munguia Cabañas Mariana Bostock Aimee de Servije Susana Rodriguez Pis Sector Reforma Francisco Borrego Ana Alcántar Cristian Silva Ceramica Suro Museo de Arte Bart van Esch Raúl Anguiano Ulises Figueroa Toro Lab Renato Garza Cervera Geovanna Ibarra Gabriel de la Mora Joaquín Segura Omar Aguayo Manuel Cerda Cabrera Kerstin Erdmann Ivet Reyes Maturano Tania Candiani Richard Moszka

Chloé Fricourt Cuauhtemoc Medina Gerardo Lammers Robert Waters Gonzalo Ortega Olivier Debroise

Ivan Avilès Patricia Torres

Muca Roma Mariana Pérez Amor

Martin Soto Alonso Aguilar Orihuela Galeria de Arte Mexicano Alejandro Castellanos Alejandra Reygadas de Yturbe Gabriel Mestre Casa Refugio Citlaltépetl Tobias Ostrander Guillermo Fricke Irene Attinger Miler Lagos Stefan Brüggemann Tania Perez Cordova Lourdes Morales Soﬁa Hernandez Conejo Blanco Yves Corbel Gustavo Soriano Marco Rountree

Saúl Villa Angel Delgado Fondo de Cultura Economica

Ruben Marshall FEMSA Claudia de la Torre Edgar Orlaineta Mauricio Limon Diego Pérez Gilberto Esparza Ivan Puig Marcela Armas Alianza Francesa de México Adriana Lara Alvaro Castillo Barbara Hernandéz Jens Kull Julia Pentecouteau Fernando García Correa

Fanny Pascaud MUNAL Beth Calzado

Cesar Cervantes Eva Svennung MUSEO RUFINO TAMAYO Enrique Quitorron Zegache Garash Galeria Georgina Saldaña Svetlana Doubin Perros Negros Paola Desentis Macarena Hernandez Jorge Ambrosi Barbara Pereia Lasser Moderna Daniela Pérez Taller Graﬁca Actual Sala de Arte Publico Siqueiros Carla Hernandez Casa Vecina DCPP (Taller Flora) Hernán Betanzos

Galeria Ediciones Plan B Demian Flores Julia Cook Lorena Wolfer Performing Pictures Juan Carlos Betancourt Hecho en Oaxaca

Eduardo del Río Gloria Pedemonte Guillermo Fricke La Curtiduria Olga Margarita Davila Luis Carrera Carmen Cebreros Urzaiz Curare Casa del Lago Museo Soumaya

Ambassade du Mexique Nina Menocal en France Maurycy VonMurr Pilar Maceiras Bravo Sabino D. Charis Magnolia Arcangel Constantini Marion Dellys Mariana Mora de la Garza Mercedes Nasta de la Parra Ricardo Alzati Simone Gilges Tayana Pimentel Kinga Kielczynska Monica Espinoza Instituto Cultural Nicola Lopez Katya de México Gardea Browne Alejandra Perez Miguel Monroy Centro National de las Artes (school) Alejandro Almanza Patrick Petterson Yoshua Okon

Bruno Bersani Melanie Smith Amat Escalante Begoña Morales Jose Luis Cortes

Irving Domínguez El Eco Laureana Toledo Alina Centeno Karla Jasso SOMA Galería Hilario Galguera Lodge Kerrigan Emmanuel Albarrán Benoit Chalet ENAP Jorge Sosa Aranza José Antonio Anne-Laure Dagorn Vega Macotela Roberto Rubalcava Madeleine Madoré Ariadna Pramonetti Muriel Bonnet Del Valle Universidad de Guanajuato UNAM Laboratio Arte Alameda Helena Fernandez-Cavada Sylvia Ortiz Universitas de las Americas, Peeping Tom Puebla Casa San Agustin Alterna y Corriente Trolebus Antoine d'Agata GALERIA OMR Marisa Ortiz Lull Raul Ortega Ayala Esmeralda Isaak Munoz Maya Goded

Morgane Lory Yvonne Venegas Jessica Wozny Emile Hyperion Allen Frame Dubuisson Jessica Berlanga Taylor Manuel Cirauqui James Oles Angèle Malatre Lina Scheynius

Claudi Garcia Calderon Paola Davila Jota Martes

Géraldine Postel Pedro Friedeberg Maria Ezcurra Thibault Pradet Luis Ramaggio Antonio O’Connell Jacques Kebadian

Jose Kuri

Monica Manzutto

sofía táboas rirkrit tiravanija

monika sosnowska

abraham cruzvillegas Victor Zamudio Taylor minerva cuevas

Carlos Amorales Kurimanzutto

Moris jonathan hernández damián ortega

jimmie durham Edgardo Aragon Daniel guzmán SAN ILDEFONSO CENTRO CULTURAL DEL MÉXICO CONTEMPORÁNEO gabriel orozco dr. lakra

Inti Muñoz Santini gabriel kuri Miguel Calderon fernando ortega PALACIO DE BELLAS ARTES appartement Martin Munez

MUSEO DEL ESTANQUILLO CENTRO CULTURAL ESPAÑA PRAXIS

Mariana Vargas La Refaccionaria

MUSEO DE LA SHCP MUSEO DE LA CIUDAD

ZONA MACO Fritzia Irizar Daniela Rossell

MUSEO JOSE LUIS CUEVAS

Eduardo Thomas CENTRO DE LA IMAGEN Watcha Vato

Vanessa Hernandez Silverio Nuevos Ricos Museum of Mexican Design Liliana Ramales Ruth Estevez

Michel Blancsubé Palacio Nacional

GALERÍA LÓPEZ QUIROGA Sonido Changorama Titan Gabriela Camacho Cecilia Ramírez CERCA DEL METRO TACUBAYA Icari Gómez GALERIA DE ARTE MEXICANO GALERÍA JUAN MARÍN Jumex Foundation

Pablo Lopez Luz Abaseh GALERIA DEL OTRO EDS Galería Cam Contemporáneo LADO DE LA PLAZA RIO DE JANEIRO María Alvarez del Castillo Daniela Elbahara Anne De Vries Galeria Pecanins Omar Barquet Yautepec Sábado Danzón Davide Balula

MUSEO DE GALERIA ENRIQUE GUERRERO ANTROPOLOGÍA E HISTORIA Claudia Lopez Terroso Noah Sheldon MUSEO DE ARTE MODERNO

GALERIA OSCAR ROMÁN Mathieu Poirier Paola de Anda Sophie Morner Luis Adelantado

Fabiola Torres Alzaga Alejandro Jorodovski Pamela Echeverrias Roberto Hernandez Ruiz

Fernando Carabajal Allison Ayers

Jokus Migratorio Patricia Martin Thomas Glassford

Daniel Solano Iker Vicente

Erick Meyenberg Pavka Segura Luis Carlos Hurtado Mariana Castillo Dellecamp

Pedro Reyes

Labor

Irene Kopelman

place (institution, gallery, museum, art collective, music band...etc.) André Pahl Etienne Chambaud Orlando Jimenez

Jorge Satorre David Lida Hector Zamora Pia Camil Miki Guadamur Kerim Seiler Celeste individual Pablo Vargas Lugo Teresa Margolles Pip Day Erick Beltran Axel Velazquez Mark Alor Powell Santiago Cucullu Philippe Chaume Vanni Bianchoni El Resplandor

Adian Notz Galia Eibenschutz Denise Marchebout

Muna Cann Enrique Gonzales Vanesa Fernández contributors: entries reviewed in this publication and authors of the articles and interviews Ruben Gutierrez

Felipe de Saint Phalle Frédéric Lebain

Jorge Mendez Blake in-situ: individual we met or place we visited Jean-Charles Hue Mario Canal Montserrat Albores Carlos Ranc

Erwan Fichou Pablo Sigg El Centro

Petra email correspondence: individual we didn’t meet but we communicated by email Christine Mouchard

Emmanuel Picault Fernando Etulain Los Pellejos Smellapathy

hand-check: individual we met but only briefly Chic by accident Francisco Torres

Christian Valdelievre no contact: individual we didn’t either meet nor exchanged email with

Cerro Largo

original links: individual we knew before going to Mexico Austrian couple Mario Corella Susanne Steines & John Mack

Ilse Gradwohl 4 - 5 index

A 236, 237 Jorge Satorre 136, 138 Orlando Jiménez 166, 240 Abraham Cruzvillegas 6, 132, 182, 184, El Resplandor 80 Jorge Sosa 116, 228 237 Emanuel Tovar 44, 48, 162, 235 José Dávila 58, 124, 134, 162, 183, 234, P Pablo López Luz 172 Adriana Lara 10, 86, 89, 228, 230, 238 Eva Svennung 10, 246 237 Pablo Sigg 9, 174, 184, 233, 246 Agustín Coppel 14 José García 188, 246 Pablo Vargas Lugo 136, 140, 162 Alejandro Almanza Pereda 16, 116, 228, F José León Cerrillo 128, 188 Felipe Manzano 52, 58 Pamela Echeverría 136 246 José Luis Cortés-Santander 116 Fernando Etulain 82, 237 Patricia Martín 90, 150, 152, 163, 176, André Pahl 34, 166, 246 José Noé Suro 14, 15, 52, 58, 78, 130, Fernando Palomar 52, 162 246 Antonio O’connell 22, 238, 240 164 Francis Alÿs 84, 94, 146, 156, 158, 162, Patrick Charpenel 6, 14, 15, 57, 146, 150, Antonio Vega Macotela 24 José Pérez López 44 163, 182 José Rojas 86 163, 164, 182, 237, 241, 246 B Francisco Ugarte 52, 54 Perros Negros 218 Begoña Morales 26, 228, 241 K Petra 9, 174, 184, 212, 233, 241 Bruno Ruiz 32, 242 G Kerstin Erdmann 100, 246 Pip Day 196, 246 Gabriel Orozco 132, 133 Kurimanzutto 6, 9, 15, 34, 132, 154, 232, Proyectos Monclova 15, 72, 128, 129, 188, C Gaga Arte Contemporáneo 9, 10, 86, 100, 233, 238 206, 236, 242, 244 Carlos Amorales 34, 132, 151, 152, 168, 228, 237, 242 170, 201 Galería de Arte Mexicano 90, 95, 156, 237, L R Carlos Ranc 38, 233, 238 241 LABOR 15, 136, 212, 242 Raul Ortega Ayala 192, 242, 243 Carmen Cebreros Urzaiz 246 Geovana Ibarra 246 La Vitrina 134 Ricardo Alzati 196 César Cervantes 14, 15, 40 Gerardo Lammers 52, 246 Liam Gillick 134 Ruth Estévez 156, 246 Charro Negro Galería 44, 66, 234 Gonzalo Lebrija 48, 58, 96, 162, 183, 234, Luis Ramaggio 26, 246 Chloé Fricout 44, 246 237 S Silverio 36, 200, 229, 233 Claudia de la Torre 50, 239 Guillermo Fricke 62, 246 M Macarena Hernández 14, 40, 182, 246 Susana Rodríguez 52, 59 Curro y Poncho 52, 56 Guillermo Santamarina 41, 86, 100, 102, Magnolia de la Garza 86, 136, 182, 188, Cynthia Gutiérrez 44, 48, 60, 130, 134, 152, 162, 163 202, 246 T 234, 246 Gustavo Artigas 104 Marcela Armas 142, 238, 239 Tania Pérez Córdova 202 D H Mariana Munguía Matute 146, 162 Tercerunquinto 188, 189, 206, 244 Damián Ortega 132, 133 Héctor Zamora 136 Mario García Torres 162, 188, 191 Y Daniela Pérez 114, 154, 206, 246 Humberto Duque 106 Mercedes Nasta de la Parra 128, 246 Yoshua Okón 140, 208, 210, 241 Daniel Guzmán 132, 133, 184 Michel Blancsubé 96, 150, 246 Daniel Monroy 60 J Miguel Calderón 132, 154, 211, 241 Jaime Ruiz Otis 108, 240 Demián Flores 62, 170, 236, 239 Miguel Monroy 90, 156, 228, 241 Jessica Berlanga Taylor 26, 66, 142, 246 Diego Teo 64, 240 Montserrat Albores 184, 246 Jonathan Hernández 132, 134, 184 E Jorge Méndez Blake 110, 162, 183, 233, O Edgar Cobián 44, 48, 66, 134, 234 235, 241 Oficina para Proyectos de Arte (OPA) 57, Edgardo Aragón 70 Jorge Munguía Matute 72, 114, 232, 238, 96, 124, 146, 148, 162 Eduardo Sarabia 52, 72, 162, 188, 235, 246 Omar Gámez 160, 241, 242 6 - 7 Abraham Cruzvillegas (1968, Mexico City - MX) / Artist, represented by Kurimanzutto (MX) / Professor / Based in Mexico City and Berlin

By Patrick Charpenel Interview

Patrick Charpenel: The art of the 1990s was characte- ing, reading, listening and conversing. All of those actions rized by a return to conceptual art. In this process that together make my work. tended towards the dematerialization of the work, art distanced itself from certain artistic values such as the In the 1970s, the idea of entropy heavily influenced the crafting and materiality of those products. Your work, production of art. Just to name a few examples of people nevertheless, always started from the corporeal and mate- who dealt with the idea: Robert Smithson, Gordon Matta- rial nature of each piece, and it recuperates some artisanal Clark and Bas Jan Ader. In your film Autoconstrucción we traditions as well as certain production processes. Seen observe the case of a neighborhood in which people work through this lens, how does a work, with the characteris- following “different” procedures. In some moments of the tics of your pieces, deal with the symbolical production of filming, one could think that it is about pure chaos and globalization? disorganization. Nevertheless, when we follow the narra- Abraham Cruzvillegas: Even though it may seem com- tive of the video, we understand that the work deals with monplace, I am very interested in the use of my hands, in a self-regulated “system” that follows complex rules to parallel to the use of my head. Ideas take shape, concepts operate within certain margins. This type of anarchy (the have a physical materiality, they are “graphisms,” syllables, capacity to self-organize) is in reality the survival strategy phonemes or chemical reactions in one’s brain, despite their of many marginalized communities. To what extent is this “immaterial nature.” Bruce Nauman’s From Hand to Mouth a political and social product and in what measure are you is a beautiful material instantiation of this idea, where the dealing with a formal issue in which you solely analyze a fabricated or artisanal necessity (which implies for me doing structure? things with my hands) is inextricably linked with the gene- The film Autoconstrucción is a mineral and undoubtedly ration and enunciation of concepts. The “dematerialization,” entropic landscape portrait of the Ajusco neighborhood, which was brilliantly suggested by Lucy Lippard, had to do where I was born and where I grew up. It is here that the with factors of a political and philosophical order, as far as film describes its streets, houses, façades, materials, and the the economy, the hermeneutics and epistemology of new things that could probably happen inside. It is a tectonic artistic conventions were concerned. But it didn’t mean the story of the sum of moments and experiences that took spe- disappearance of the work or of art. The work of Lawrence cific form during different processes, and whose most impor- Weiner, who considers himself a sculptor first and foremost, tant primary material (besides volcanic rocks) is necessity, is the best example of this. together with love, pleasure and solidarity. Their fragments My necessities have indicated a series of pedagogical testify to different strategies of settling, transformation, options (where I am the one who learns), which imply a use, cancellation and even destruction of the livable spaces possible rehabilitation of my manual capacities, of the use and the collective environment. I want to give testimony to of my hands (which is typical for a learning process), with- a conjunction of methods that arise from emergency, not out any ingenuity or expressivist or irrational pretensions. from planning—with, without, and in spite of the resources. I am not so interested in the profession of art, and neither Without any heroic gestures, in the face of the adversity am I in technique per se. I am interested in going beyond (political, social and economic), the materials took particular technique so that we can find each time more tools on the formal concretions, which seen from the outside, seem capri- table of art. And so that we can choose from amongst these cious or unstable. The film doesn’t refer to self-construction in accordance with the specific necessities of each project. as an idealization of poverty or of marginalization. Quite Recently, I made a film, a music album, I wrote a book, differently: it attempts to bring into motion a dynamic of took photos, and I have not stopped constructing sculptures with objects. I have not stopped hammering, drill- Proyecto de basto para espacio abierto, 2005. Iris print on canvas. ing, sanding, gluing, assembling, bolting, cooking, drink- 150 x 35 cm. Courtesy of the artist and Kurimanzutto, Mexico City. 8 - 9 self-construction (rather: self-regulation, self-organization, This has been very important, for me, as well as for some of coherent criticism would require from the artists a stronger in which the performers will interact like objects or specific anarchy) during the filming, editing and its possible recep- the artists with whom I’ve developed. That is why I think compromise with their own research, with their language, circumstances. These are: Allora & Calzadilla, Renata Lucas, tion and interpretation. we continue a genealogy without a national standard. We with their environment, as well as with the possible com- Roman Ondak, Gabriel Orozco, Damián Ortega, Anna Jer- You have insisted on several occasions that your work is are persons with individual identities and with complex and mercial channels of their products within the critical cir- molaewa, Hassan Khan, Fran Priest, Kate Davis, Michel fundamentally sculptural. Nevertheless, the way in which contradictory personalities. My closeness to Gabriel Orozco cumstances (in crisis) of our country and our world, without Marriot, Alessandro Ceresoli, Daniel Guzmán, Minerva you recycle certain refuse from popular neighborhoods (in has been crucial for me to strive for a personal vocabulary, thereby becoming marginal or heroic. Cuevas, Gabriel Kuri, Roddy Buchanan, Jimena Mendoza, Mexico, France, etc.) makes me think of a work with social and I wanted to attempt to dialogue (in different ways and Jonathan Hernández, Dr. Lakra, Eduardo Abaroa, and Luz characteristics, and, hence, of a product that one has to forms) with other artists, who being Mexican (either by cir- You are currently developing a series of curatorial projects María Bedoya. perceive more from a cultural perspective and not so much cumstance, fortune or fate, like myself ) have been provid- to create possibilities for the younger artists of Mexico In addition to that, also in May, I will screen a documentary for its technical dimension. How do you see your work ers of inspiration, intelligence and experience for my own City, Guadalajara, Oaxaca, etc. What exactly is this under- in which I interviewed my parents about their experiences from this particular viewpoint? development. Like the one and only Melquiades Herrera, taking, and when will it go public? of the self-construction of our house and the neighborhood. I have collected materials from the souk in Moroccan medi- for instance. Equally substantial for my work are David Together with Nuria Montiel and Sofía Olascoaga I’ve been That is at Petra, the space of Montserrat Albores Gleason nas, from the recycling markets in Cartagena, Santa Mar- Hammons, Jimmie Durham, David Medalla, Robert Filiou, developing, since February, La Galería de Comercio. It is and Pablo Sigg. It is about the particularities of the history of tha, Santa Catarina, San Felipe, from the market of La Bola, Eva Hesse, Hélio Oiticica and Chris Burden, among others. located in the Escandón neighborhood, on the corner of strife and solidarity, and it also gives additional information from Portales, from Istanbul, from Parisian boulevards, from Over time, nationalisms become grotesque failures. Taking Comercio and Martí Street. We sporadically present public about these incidents in their respective context. At the same flea markets in New York, from thetapatío Baratillo, but also self-congratulatory pleasure in couleur locale implies touristic and free projects in the street, with very little money, without time, in House of Gaga (Gaga Arte Contemporáneo), the from cosmopolitan supermarkets and malls like La Galleria frivolity, which frequently takes pretty dangerous forms. products, residues, merchandise, or objects. We have pre- gallery of Fernando Mesta, I will showcase a musical proj- in Houston, or the KaDeWe in Berlin. Also from Ikea and sented music projects (the norteño band Los Insoportables), ect in collaboration with Enrique Rangel and several music Crate & Barrel. I don’t only work with discarded materials or You have kept your position as teacher and critic in tan- editorial initiatives (the launch of Teignmouth Electron in bands and interpreters. They will create the music for a col- with trash. In fact, I hardly ever use trash: I use materials that dem with your development as artist. During quite some Spanish, the latest book of Alias publications), of spontane- lection of song lyrics that I wrote, pretty freely, about the can be used beyond their superficial appearance. time you have been an active and influential professor in ous participation (The Sticker Club), and we will soon hold histories of my neighborhood, about self-construction. It is I like to understand what people throw away, understand the Esmeralda Academy in Mexico City. You have contrib- an amateur psychoanalytic session with Jens Hoffmann, and somewhat of a replica of a similar project I did with musi- the complex models of recycling and reinsertion of refuse uted, in newspapers and specialized journals, with critical then a skateboarding event organized by Martín Nuñez, cians and bands in 2008, in Glasgow, Scotland. in economic structures that aren’t regulated or formalized. analyses of art and of cultural phenomena. Speaking from which consists of riding a skateboard on a wall, challenging In June, I will be going to Berlin for a DAAD Residency Dumpster collecting (pepena) as global practice. These col- this critical perspective, what do you think of the new gen- the laws of gravity. There will be projections of animation and in October I will have a solo show in Paris, at Chantal lectors don’t gather trash but primary material. I am inspired eration of creators, of gallerists and exhibition spaces in and movies, gastronomic events, workshops, graphic produc- Crousel’s gallery. My textbook Round de Sombra, originally by this social perspective: nothing is destroyed, everything the context of Mexican art? tion, science lectures, poetry readings, choreographic events. published by Conaculta, is being translated into Eng- is transformed, everything is alive. I wanted to say that I We are currently suffering from a pretty bad crisis in educa- La Galería de Comercio integrates a future program in lish and will appear shortly. make my selection guided by indifference, but in reality I tion in Mexico—and this is not only in the arts. The priori- which there will be people of different disciplines, practices select objects for their possible reserve of capital. That is ties have shifted and the possibility to put education as the and contexts. It is not really a curatorial project. There is Translated from Spanish by Sarah Demeuse. why the cultural load of these objects functions on a sec- country’s, or State’s, top priority is casted as unfeasible. In no specific line of work or particular interest; it is rather a ond level. The technical orientation of each material is as the context of a low-intensity war, of a reign of terror and of succession of spontaneous events, which can lead to unex- important as its divergences, like its plural identities (of each media as well as State control of the emotions—add to that pected, unstable and contradictory situations. We do aim material or object). I’d like to generate a constant conceptual the ineptitude of the political parties and their representa- to activate the street space and to generate a link with its and physical instability in my works. I like to enable a shock tives—education has become totally devalued as a vehicle for passersby, with daily life, without trying to “bring culture.” of economic contexts, an encounter of productive modes, a knowledge, wealth and transformation. Instead, our source is the normal activity of that corner in marriage of systems, which, at times, is an orgy, adultery, a Let’s not even talk about art. The art market is absolutely my neighborhood. flirtation, or even impossible love. necessary to generate resources for new projects, for new You can find more information about La Galería de Com- generations. But what kind of artists are we forming? In ercio at: www.galeriadecomercio.blogspot.com and www. Even though you are part of a generation that broke with what way do we participate in the context of a globally artforum.com/words/id=25127 figurative art and the traditional techniques of the Mexi- competitive and brutal economy? What is our role? Which can avant-garde, your work seems to keep some connec- discourses or languages do we generate? We have to recon- What is next? What are you currently working on? tion with the work of artists like Germán Venegas or Fran- sider what we want to support and how—beyond the mere Right now, I am working on a project together with the cisco Toledo. Do you feel that you maintain affinities with commercial circle of art. If we don’t improve artistic and sci- director of the Antonio Castro theatre and with the com- artists from other generations? entific education, we will continue to depend economically poser Antonio Fernández Ros. It will happen at Kuriman- The work of some artists has been very important for my and politically on other instances. The fact that violence, zutto gallery at the end of May. The result, which will be understanding of art and of my own work, beyond the fact misery and its consequences have a major impact on public titled Autoconstrucción, will be the fruit of a dialogue of artists that they are Mexican, North American, or European. It is opinion and on the distribution of resources is clear proof from different disciplines, one that generates a stage event impossible not to nourish yourself with the experience of of this. with live music and actors, but one that gets away, almost in others, otherwise you do not only be arrogant but also pretty At the same time we should be able to generate a criticism its entirety, from a conventional dramatic text. We will also stupid—like inventing red water and the lukewarm thread. that goes beyond mere review or description of work. A collaborate with some other artists who have proposed works 10 - 11 Adriana Lara (1978, Mexico City - MX) / Artist, represented by Gaga Arte Contemporáneo (MX) / Member of Perros Negros / Publisher of Pazmaker / Member of music band Lasser Moderna / Based in Mexico City

By Eva Svennung Wild Guess

Eva Svennung: In 2005, you started to work on NAAP tion of artists had mostly ended up needing to make a living (Nuevo Archivo de Arte Público), a Mexico City public in other fields and eventually abandoned their artistic career art archive—to quote Daniel Baumann, “this complicated because of the lack of support and the local art economy at and partly unloved child of the arts and the art world.” the time. So one of the strategies I thought of working on What does public art mean to you, and how related is this was to work with other artists in bringing art to more visible project to Mexico City? spots in order to make it a present, actual non-fictional pro- Adriana Lara: Public art is problematic, boldly I would say fession. But I realized it was a waste of time because people it’s a kind of art that offers itself to people who don’t neces- on the street in general didn’t care, so instead I should have sarily care about it. focused on continuing to work in my studio rather than try- I do enjoy finding interesting things on the street (art or not). ing to establish contact with a faceless person. But I think the problem comes when public art becomes part This project was conceived as a reflection on this. On how of the political or urban planning agenda. I see it as a place the fact of this unawareness of contemporary art in Mexico where all the very different notions of “what is art” meet, had to do with a gap in Mexican art history and the non- always full of disappointments or misunderstandings. existence of documentation on what had been going on in the arts for the past thirty or forty years, and how in parallel, Problematic in what sense? during those years there had been very interesting transfor- There is no common agreement as to what should be out mations and interventions in city development. So I decided there or what shouldn’t be, between the commissioners and to refill this information gap with made-up documentation the public. But specifically in Mexico City, which is where of these unjustified constructions that exist all over the city I live, I see it from two different points of view that at some disguised as public artworks, creating this idealistic scenario point intersect from both sides. One is from that of the com- from the past in which artists were considered the raw model missioner that has the interest in it as a decorative/entertain- for society (for urban planners, for politicians, for workers ing/promotional object that more than anything intends to in general), having been given space and support for large- embellish the urban planning and to attract tourism. I have scale projects, not necessarily ornamental or entertaining, always wondered who chooses the artists and how commis- but rather critical and politically involved. sioner/artist manage to match their expectations. Here is So the project was definitely related to a local situation and where we come to the other point of view, that of the art- couldn’t have been conceived anywhere else. ist. I think it is extremely tempting to have such visibility. Although it is not always the case for contemporary artists You’ve developed a series of works after that (Art Film that have worked on public art. I would add that the interest 1: Ever Present Yet Ignored, A Problem Has Occurred and of showing an artwork to an open audience has to do with Things) that often uses the exhibition format, or leans on a need of having recognition as an artist, in a context where a curatorial gesture, to stage situations (the archive, then a it is barely considered a real profession, more than a need to series of solo shows) where your position, the position of extend an observation to a number of people. the artist, is undermined by, or rather located in, the actual Just before I started NAAP, after having worked in public exhibition “scenario,” and in which art is almost put forth art projects with other artists, I came to the conclusion that as fiction, and artworks as props, to put it very roughly. public art in Mexico was a waste of energy. Through those works I try to perform or re-enact “being an artist.” Instead of assuming my role and automatically mak- A waste of energy? ing art (which I also sometimes do), I have kept on exploring When I started making art, I was doubting that I would be able to survive as an artist, knowing that the past genera- © Rodney Alcala 12 - 13

the viewer arrives in a specific but uncertain space, where ical (meaning invisible) presence that could filter into several he’s led to examine the nature and the conditions of what venues, houses, cities. Nowadays, my practice in music has he is facing. But often too, there’s a clear sense of derision different motivations, like for example, to be able to write as to the future/destination of the actual works; I’m think- lyrics, or work with rhythm, sounds and instruments as raw ing of the banana peel, or the shoe/cat litter box. Those materials, which doesn’t come so naturally to me. I would say inscribe themselves in several (art) (hi)stories at the same it’s as free as the rest, except people get more involved in it time, all the while producing/performing their own way than an exhibition and this somehow gives the impression of out of it. doing something well. The derision you are talking about comes as a consequence of what I try to do, which is to use a common place or famil- The outsider, “non-professional” position you can have in iar something to embody an abstract idea momentarily. I was your nonetheless serious, and advanced musical practice, talking to a friend about that. He thinks of these works as is that something that’s still possible in the visual arts as it demonstrations, which I understand as a thought that justi- operates today? I’m thinking of the figure of the artist work- fies itself in both ways of existence (as an object and as an ing outside of the “system,” following his own agenda that is artwork). For me these things become “staged objects” and a recurring subject in your work, both as artist and curator. that’s where their future might be in a game, once the show Non-professional is one thing and outside the system is is over, they could be worth nothing, or I mean, as much as another thing. I think none of both, I wouldn’t like to be iso- their equals—a banana in the supermarket or a homemade lated 100 percent as I couldn’t be non-professional in order cat litter box. to get things done. I just like to play with the system a bit, acknowledging it has different levels or branches. It would There’s this playful ambivalence embedded in some of be nice to think of the artist as a professional amateur, some your works, at once skeptical of and ready to challenge the kind of category that develops method rather than discourse, idea of the possibility of affecting the (art or cultural) con- that allows for exploring different fields and positions, like

Adriana Lara. On Shadow Paintings, 2010. text it irrupts in, and of having this existence/potential of an actor whose method allows him to be a doctor, a kid, a their own. In that sense the objects you produce (or a work politician. I consider myself an empiric. what it means to be one, as it seems to me such an unrealistic like A.P.H.O.) elegantly, and often humorously too, seem profession. So the projects you mention have been the result to operate like sophisticated allegories. Would this be a www.perrosnegros.info of that exploration, A.F.1 is about the subjective power of art, weird way to describe the way the pieces operate? www.myspace.com/lassermoderna how an artwork can be everything and nothing at the same No, you might say the works are allegories. For example, the time depending on how language structures and conducts show I did in Puerto Rico where I was doing a representation it or defines it, A.P.H.O. plays the political artist/artwork of an enclosed version of outer space by revealing some sec- in search of a problem to create/exist, Things (Cosas) plays tions of the brick wall behind the staged black wall, stood for the absent artist/artwork in a suppositional unpopulated the idea that “we say we can understand the infinite, because (destroyed planet) world, and Artificial as the spectacle of we are blind to limits, but we actually can’t understand infin- the arts, the artist existence as being fictional. ity because we are unable to see the unlimited.” But then that brings me to something else: what could it mean if we were By extension, your interventions sometimes seem to not able to conceive the infinite, or were blind to limits…or address and literally display the discrepancy between life, the opposite? These are the kind of questions that I come to experience and the space of experimentation or represen- in the middle of my process and my intention is to project tation that the art world stands for. The exhibition space is these questions in the work. So I think eventually the work almost a dead end, or a Natural History (of Art) Museum. operates more as a symbol (perhaps a symbol of my own I don’t think of a display of discrepancy, instead, a way of thoughts) more than an allegory, because there isn’t a way conciliating this space of experimentation you mention as to decipher it, the work is standing alone there as a question the art world with the real world in the same space. I see mark, and as the only expression of what it is symbolizing. the exhibition as a format, as a still life: myself, the spectator and the exhibition space included in it, an association of ele- How does music, your musical production, complete your ments in a specific time and context. practice? And, compared to the visual arts—and the questions you’re tackling—doesn’t it feel like a looser, more As you play with different formal vocabularies and media, open ground to venture in? and submit different experiences in one single show that At first, I found it a fun strategy to start existing as an artist, imply a set of different relations to the works on display, a kind of literal introduction, through my voice, a non-phys- 14 - 15 Agustín Coppel (1961, Culiacán - MX) / President of Coppel Group (MX) / Art Collector / Based in Culiacán

By Macarena Hernández Interview

Macarena Hernández: What was the first thing you col- How would you describe the curatorial approach to your We never buy work for a particular place. The works are selected art in a botanical garden bring? lected in your life? At the moment, do you have another collection? Who gives you feedback during the decision as integral parts of the collection. At home we obviously need This is a long-term project. It involves a detailed construction collection parallel to your contemporary art collection? making process of choosing an art piece? to take into consideration dimensions and ways of living with of many hours and many people. On the one hand, there is the I imagine you have an extensive library, or an archive in The relation with people who share this passion and who them. Partick Charpenel curated the works that are now at botanical collection which grows continually and which is fun- which you collect things by your favorite artists, quotes, know a lot about the topic is crucial. These exchanges are home. Patrick and I both selected them. It was an interesting damental. On the other, there is the art project, which implies a postcards, etc. incredibly enriching and allow us to get to know other ways and fun experience. Some of the works now at home are, by curatorial process, led by Patrick Charpenel in which I am also Agustín Coppel: The first items I collected were seashells. I of thinking, new artists, or tendencies that turn out to be Michelangelo Pistoletto, Pierson, Dan Flavin, Rudolf Stingel continually involved. The relation with each artist is very pre- built that collection together with my mother. When I was valuable for the collection. Several people have played an and Matthew Barney, among others. cise, from the moment they visit the area, make their proposal, young, I fell ill for half a year, which is when I classified them. influential part in this retro-alimentation. Víctor Acuña and study the technical procedures that allow the production of the I collect philosophy books. Even though it is not at all an Armando Colina of the Arvil Gallery were both crucial in the In the last years you have had two exhibitions of your collec- work to its final installation. All these provide for an amazing extensive collection they are important to me. I also collect shaping of the modern Mexican collection. So was Andrés tion. What was your experience seeing the shows? Through experience and a very interesting, profound intellectual exercise. books about Cleopatra and her time. They are not impor- Blaisten and his marvelous collection of Mexican modern art. catalogues and exhibitions your collection acquires legiti- Many people are involved in this undertaking and all contribute tant collections of books for others—the collections are not When we started collecting contemporary art, Yvonne Force macy, even though it does not have a physical space. to the necessary, creative elements in each area. The challenges extensive and do not focus on rare editions. They are simply supported and advised us a lot. Pedro Alonzo, a close friend There have been two exhibitions in Mexico, one at MUCA are continuous, from very small to large. Yet together they are important to me. Whenever I have the opportunity to find and curator, has made valuable contributions to the collec- in Mexico City and another one in Puebla, in a space of the all very enriching. This development is a great pleasure. The something related to these themes, I add it to the collection. The constant dialogue with Patrick Charpenel is always UDLA (Universidad de las Américas) and another space of the project also provides for moments of relaxing, in a fully aesthetic tion. In a way, I consider the plant species you can find at the inspiring, as well as with José Noé Suro. With César Cer- Puebla Art Institute. Both were curated by Taiyana Pimentel. It and joyfully intellectual way. The conjunction of art and nature Botanical Garden in Culiacán like collections, even though vantes, I share my thoughts about how to collect. I enjoy the was a wonderful experience seeing the collection, especially at is a great opportunity for all. The visitors to the Botanical Gar- they belong to the garden and not to me. I have a great inter- conversations with Monica Manzutto and José Kuri. As well MUCA, which is a beautiful space (this was before the open- den participate in this experience every day. est in botany and am especially fascinated by several species as with galleries abroad, such as Marian Goodman, Angela ing of MUAC). We were delighted to share our collection with like the collection of palm trees, bamboo plants, or flowering Westwater, David Zwirner and Casey Kaplan. While there the public, especially with the university public. In Europe, the What can you say about the actual situation of Mexico’s con- plants of the heliconia genus. are many more, these people have been particularly close. exhibition Mexico: Expected/Unexpected was curated by Carlos temporary art scene? Carlos Basualdo and Mónica Amor are obviously very dear Basualdo and Mónica Amor. This show was originally con- This is a very favorable moment for Mexico. Private institutions Why collect contemporary art? Could you give us a brief to us. We enjoy their friendship and take their advice very ceived for the Maison Rouge in Paris and we did not intend are undertaking very valuable projects. The Museo Tamayo is history of your process as a collector? seriously. We are now working together on an exciting project it to travel elsewhere. The Ministry of Foreign Affairs wanted in a great moment, MUAC has changed our vision of what a Collecting contemporary art is a great intellectual experi- with Jens Hoffmann. to travel the show after Paris, and we are very proud and happy museum is, the Patronato de Arte Contemporáneo (PAC) is a ence. It is a passion that is hard to explain. It comes with with its support, as well as with the venues in which it was central reference. Zelika García’s work for the annual art fair has a continuous questioning during your whole life. As a stu- Over time, which acquisitions have been groundbreaking shown afterwards: the Espacio de Arte in Tenerife (TEA), the better results each year. Kurimanzutto gallery is renown inter- dent I bought some drawings in Rome. When I studied in in the development of your collection? Stedelijk Museum in Schiedam, in the Netherlands, and soon nationally and has been a springboard for the careers of young New York, I would regularly visit galleries and museums. There are several. The collection is active and alive. That is BPS22 in Belgium. The vision of curators Carlos Basualdo and Mexican artists whose works are now in top collections. Their And I was extremely interested in art. At the beginning I was how different lines and discourses develop. Mónica Amor has been especially relevant to us. It changed our work is extremely professional, and they are close to both their mostly interested in Mexican modern art, the first two pieces way of appreciating the collection—the relations between pho- artists and collectors. And not to forget the work done by col- we acquired were a work by Cordelia Urueta and one by Lilia At this moment in time, which artist are you looking at and tography and installation, between modern and contemporary lectors like César Cervantes, Patrick Charpenel, José Noé Suro, Carrillo. We bought those in the Iturralde Gallery in L.A. which book are you enjoying? Mexican art, or the dialogues between Mexican art and the art or by galleries such as OMR, Gaga, LABOR and Proyectos The basis of our collection is Mexican modern art: Gerzso, As far as artists: Roman Ondak and Fritzia Irizar, an artist from from other countries. It has been enriching to us and we hope it Monclova, among others. Thanks to them, the world knows Mérida, González Serrano, Saturnino Herrán, among oth- Sinaloa. The books are: The Fatal Conceit: The Errors of Socialism was (and will be) the same for the visitors to the exhibition. As and appreciates Mexican creativity. And more than anything ers. Enrique Guzmán, an important Mexican artist from the by Friedrich Hayek, De los libros al poder by Gabriel Zaid, and of yet, we don’t have plans to open a museum or a space for the else, there are the artists who work with rigor, preparation and 1970s, features prominently in our collection. Shortly after Claude Lévi Strauss o el nuevo festín de Esopo by Octavio Paz. collection. There have been a few conversations about it with responsibility. This is an excellent moment for Mexican con- that the contemporary collection started. One of the first other instances, but there is nothing cast in concrete. temporary art. pieces we acquired was an excellent work by Garry Hill, The What art do you have in your home? Do you buy specifi- Learning Curve. Since then we have focused on international cally for this space, or how do you decide what to feature in How was the experience in the Botanical Garden in Culi- Translated from Spanish by Sarah Demeuse. contemporary art, not just Mexican art. your private space? acán? What kind of challenges did presenting contemporary 16 - 17 Alejandro Almanza Pereda (1977, Mexico City - MX) / Artist / Based in Mexico City and New York

By a collective of two ghost writers From Chaos Rhythm is Born*

IMPORTANT ANNOUNCEMENT That evening, when Alejandro was alone at the table having Time Travellers Reunion dinner surrounded by fancy china, candles, cutlery, flowers, To Whom It May Concern, cups and a chandelier among other things, waiting for his This is to inform you that on the evening of 8 May 2009, guests to arrive, everything seemed to be going according to time travellers are kindly invited to a cocktail party that will the pre-established plan. Time travellers were now able to be held at the following GPS address. join him any minute. However, in setting up the show, Ale- Casino Metropolitano: 52° 12’ 29” N, 0° 7’ 21” E jandro had miscalculated something: he had hung a crystal RSVP is not required. discotheque ball from the ceiling, which reflected the physi- Sincerely, cal space where they would be located. This disrupted the A.A.P. delicate ambience that he had assembled and prevented anyone from a different time to join him at this unprecedented Alejandro was a student at the University of Texas in El Paso, event. In fact, many time travelers tried to get to the party; from 1997 to 2001. He was obsessed with the limits and while they temporarily broke the velocity of light in order to boundaries of time that life imposes on human beings. One accomplish their travel, they were constantly bounced back day, at the university’s library, he found a science book enti- as soon as they were reflected in the crystal ball. The energy tled Proving Albert Wrong (a book that, as its title suggests, of the travelers was rejected by the reflecting disco ball, as it tried to deny many of Einstein’s theories). One of the texts in was rotating, illuminating the entire room in a very peculiar the book, which captured Alejandro’s attention, talked about and spectacular way. the basic elements of how to organize a meeting between The party ended and Alejandro thought he had failed in his people from different times. Interested in figuring out a way attempt to contact people from different historical times, to exchange first-hand information with people outside his only now do we know that he was successful in creating own historical moment, he devised a complex experiment to an atmospheric time that no one had accomplished before, communicate with people from the past and from the future. ahead and beyond of everyone’s time, space and rhythm. The ball After much research and planning, Alejandro organized a is still today, forever, rotating above a table in an unknown cocktail party for time travellers. On the morning of 8 May, place and time. It was a good party though, and perhaps it he showed up at the offices of the El Paso Times on Myrtle still is and will be in times to come. Avenue and bought an ad space to publish the invitation to the party that would appear in the newspaper one day Note to the reader after the event actually took place. What the Mexican stu- We believe that when talking about Alejandro Almanza’s work, people tend to dent hoped, was that in the future, this advertisement would spend a lot of time and space describing works, which in many cases can only and truly be experienced and perceived firsthand. Therefore, as a collaboration remain as evidence of the party forming part of a relevant between two ghost writers from different times, we have decided to narrate our archive. own perception towards a visual arrangement today in Ahead and Beyond of The next step for the experiment was that at some point dur- Everyone’s Time, Space and Rhythm. The enigmatic accumulation of objects as ing the night, Alejandro would choose a track, a song, that well as this story are the result of one relatively possible narrative for the piece. would repeat over and over again while a microphone set in the corner of the room would capture the music and send it *This title is an extract from a text by Gilles Deleuze. back to the mixer thus repeating itself infinitely. This, ide- ally, would enable the sound to travel in waves throughout the www.alejandroalmanzapereda.com room to a point in which the space would be saturated with it, provoking a time lapse, a gap. This fracture would hypotheti- Ahead and Beyond of Everyone’s Time, Space and Rhythm, 2009. Table, silverware, cally enable a time traveller to access Alejandro’s space and chinaware, candles, flowers, napkins, vase, table top, chandeliers, disco ball. time and experience the party that was taking place that night. Variable dimensions. Courtesy of the artist. 18 - 19

Just Give Me a Place to Stand, 2007. Lumber, dolly, water gallons bottles, cinder blocks, fluorescent lightbulbs, fish tank, vase, water, air pump, sofa, lamp, doilies, milk crate, fused lightbulbs, mirrors, concrete, tables, bricks, tabletop, cushion, plate, magazines, desk, plant. Variable dimensions. Courtesy of the artist. 20 - 21

Clockwise from top left Out to Lunch (closed for the day), 2008. Steel chain (working at maximum capacity). Variable dimensions.

An Empty Vessel Makes the Loudest and Biggest Bang, 2009. Steel shelves. 240 x 84 x 40 cm.

Don’t Make Light of Something, 2008. Mirrors and Styrofoam on cinder block. 20 x 40 x 20 cm.

Andamio, 2007. Fluorescent lightbulbs, forged steel clamps, wooden ballast. Variable dimensions. Art in General, New York.

Untitled (ropero), 2006. Wardrobe, fluorescent lightbulbs, fish tanks, decorative bricks, plant, bedsheets. Variable dimensions.

All images courtesy of the artist. 22 - 23 Antonio O’connell (1974, Mexico City - MX) / Artist and Architect / Based in Mexico City www.antoniooconnell.com

Reconstruction of the wall, 2008. Steel scaffolds and recycled construction wood. 600 x 7000 x 1200 cm. Courtesy of the artist. 24 - 25 Antonio Vega Macotela (1980, Mexico City - MX) / Artist / Based in Mexico City

TIME DIVISA

The targeted time, of minutes, of seconds, is held in work and economic exploitation criteria. Time Divisa is a pro- and leisure units. A production alienated system owns the cessing project which, through 365 time interchanges with work time and a spectacular system of leisure time consump- inmates, explores the possibility to substitute Money for the tion. The owned, held and segmented time becomes a rep- trade of actions as a time exchange system. On a specific day resentation, an interchange interface. This interface, money, and time, the inmates and I carry out the task the other one works as a mediator in our society and holds its represented requires. Trading as currency each one’s actions record. (Life time already targeted) to speculation, accumulation

Time Exchange 291, 2009. Finger-carved book. 21 x 18 x 1.5 cm. Photograph by Brenda Ortiz. Time Exchange 98, 2007. Ink on paper. 145 x 120 cm. In exchange for the time consumed in searching for his love, Ismael used the nervous tic in his finger to scratch into the bookThe Count of Monte Cristo. In exchange for searching for his son, Daniel mapped his section of the prison, documenting all his steps as he walked through it. 26 - 27

w b Begoña Morales a e (1977, Lima - PE) / Artist, represented by Perugi Artecontemporanea (IT) / Based in Mexico City s n By Jessica Berlanga Taylor & Luis Ramaggio d ’t o

s n Poems for Begoña Morales p e a c a e. To MR n f thereisnoplaceformeinmyhomeihavetogetouttodayihaveno- a d u homeifeelbetterwood n l lightandwindowsonlylightformyhousesplintersofmysouly- d I l ouandidonotfitinthesame hous 1. , t

An instant, suspended, we are witnesses of the inhabitant’s h d a e i possibility of breakdown. Under a progressive insurrection of l y d materials, a space is modeled inhabitable. l ways to occupy a space: tension emerges. it to overflow a space: spread one’s self in it o s . subvert: the unknown. f c how can we go adrift without house, with nothing. I i r without house and nothing with-in. 3 t e did nothing. there is always a space. . sustained. a Change fragility 2 (It was, in fact, the only thing he could sustain). N m Suspend it in time, or space. o e Possibility .every time you walk everything stops being don’t tell me it d Reintegration is a question of space but of e Possibilation t i m e (.) n : Reintegrity this is all some t t Or kind of joke; but e 4 h space. what kind of joke r i e if by walking n r and watching… g e B r e a k d o w n )everything is

overflowing(. o i Homefamilynature … it stops being r s funny. unsuccessfully tries l n S e o I want to break free, a god knows I want to break free p a v t a insular safe 5 i h c Untitled, from the series House and Garden, 2004. Trunk and MDF model, n i e 110 x 20 x 49 cm. g n

. g bubble homes? w cracking directions: a I t 1. no sweet, sticky treats remain s 6 t o 2. hold them together 28 - 29

Floorboards swimmers stretch and dive. alone. in the shadow You don’t own me!. sun. 7 For every cause there is an effect It’s not pretty, Oh wait! Sometimes it is . Industry bounds the normal Don’t look at me like that, chula! But please come in. Don’t another time is another place. be afraid vacuum or void This is only a laminate facsimile of our struggle a the viewing process itself. 8 snapshot of me without you a representation of an Idea…… Ooof! The process of change Sorry, you’re bleeding. Can I get you something for that? 17 Structure stretching Organic peeling Edited by Jessica Berlanga Taylor and Luis Ramaggio. Almost wood Poems: Deborah Fossas (1), Gabi Piñero (2), Daniel Montero (3), Sue Taylor (4 and 5), Dave Routliffe (6 and 7), Mike Routliffe (8, 9, 10), Kat Walker (11, 12, 13, 14), Deborah de Boer (15, 16, 27). Forced into a house memory maintains wood

www.begonamorales.net has it? 9 the house thrown on the tree: a temporary absence of physics10

Dorothy never would have made it in one piece 11

I thought it was an earthquake but it turns out it was only you 12

Worlds apart a match made on earth (turn like a mirror) 13

Don’t just sit there, work with me 14

If I build my house on a three-legged stool It WILL not tip over and explode. (I swear) Or maybe it will. I am so high I won’t see it coming. Or maybe I will? (At least I have photos!) Intact is overrated. Love my splintered self. And get your own damn breakfast. 15

Sí, opposites attract. Move along! Aquí no pasa nada. Hard soft white finely wrought example vs happy scabrous wood. Hah! Happy because you win again, WOOD! But frankly, from this angle, you are impressive. It’s a look! 16 Fragment and Flat Roof, 2009. Plasterboard, glass, aluminum andconcrete. 1.3 x 8 x 4.5 m. 30 - 31

Horizontal Slope, 2008. Digital Print. 20.3 x 25.4 cm. 32 - 33 Bruno Ruiz (1990, Mexico City - MX) / Photographer / Student at Academia de Artes Visuales (AAVI) in Mexico City / Based in Mexico City [email protected]

From left to right Untitled, 2008. Silver gelatin print. Pray for Love, 2008. Chromogenic color print. Untitled, 2008. Chromogenic color print. All images courtesy of the artist. 34 - 35 Carlos Amorales (1970, Mexico City - MX) / Artist, represented by Kurimanzutto (MX) and Yvon Lambert (FR-US) / Co-Founder of music label Nuevos Ricos / Based in Mexico City

By André Pahl Interview

André Pahl: So, Nuevos Ricos is dead? of being born in the wrong place (I guess that is what “Mexi- cool rock establishment because they said we were “artzy” Carlos Amorales: Yes, it is as dead as a dead rock star can can” means “being born in the wrong place”). That created (the funny thing is that last week I read in a paper that these be. But I made sure it received a shot in the head just to be a hell populated with brainless zombies, so I thought Nue- same guys were publishing a book about a conceptual art sure that it will never come back to life, it is way gone now. vos Ricos could become the lighthouse for Armageddon, or piece they did!!!). Also, all the pirated and bootlegged copies Do you miss it? something like the Pied Piper and the nation jumping off happened in Mexico, which was to me the most interest- a cliff. That was the logic behind choosing such a silly but ing thing that happened to Nuevos Ricos. Some concerts In my nostalgic moments, sometimes…when I remember great name like Nuevos Ricos, something everybody wanted were really fantastic with masses of people and, don’t forget, it as a bombshell full of energy. But it would be worse to to be, someone everybody hated. Mexico is, of course, much there were the amazing reactions from the media that pub- see it ending like almost all rock stars that turn forty. So, worse now, but not for the fun reasons. lished all of our ultra-stupid and anarchistic press releases! good you killed it properly…but didn’t that hurt a bit, why For some time we had the media in the palms of our hands, so cruel? Couldn’t it have just committed suicide itself? But you left the country at a pretty young age—eighteen or not because we were great but because we were less stupid. I think that Nuevos Ricos (The New Rich) had already nineteen, I think—and headed off to Europe. Of course, committed suicide like two years ago but we were not aware the eighties were over, but you could have jumped onto Man…now I’m getting nostalgic! I remember you check- of it and it just kept existing like a zombie. It was a pity, that bandwagon back then, in London, Berlin or Amster- ing our big-brother Web site that was called “World and indeed I feel nostalgic for the first years when it was dam. Did you feel you needed the ten years abroad to let Domination” every minute to see how people were moving really full of energy and things were happening in a crazy this vision and desire grow, to create this monster and then around on the Web page. All of a sudden there were lots of way. I really loved the project but at some point I began to tenderly seduce your homeland with this lethal cocktail? people coming in, and one photo I remember in particular hate some (if not most) of the musicians involved because I Well, that’s the interesting point. As soon as I left the coun- is some poor police guys trying to hold up the barracade thought they were so selfish and small minded. So I don’t try I went to see the concerts of all my heroes and then I was while maybe 3,000 teenagers were pushing against it to think shutting it down was cruel, actually it was better for totally shocked to realize that I had idealized them so much get closer to the stage. One of the cops even pulled out everyone! and that in the end, the whole thing wasn’t as impressive as his mobile phone and took a photo. And then I remem- I had imagined. Of course, that’s something totally up for ber when the first guy appeared at the concert, dressed as a Maybe it was also because it had served its purpose? Is the discussion and I don’t mean that my fantasies are better than “new rich” would, with a suit and a hat. That’s when I knew situation different in Mexico now than when it started? Einstürzende Neubauten (although they may be!), but I just that people got it. How was the interaction with the audiences, as it devel- had idealized the thing so much that its connection to reality Back to the press releases. I always sensed that you really oped over time, and what were your deeper motives when was simply dwarfed. And that is the whole thing I wanted enjoyed playing with the media, directing the fantasies and Nuevos Ricos was born? I know you’re not a musician and to start in Mexico, the logic was that since there is so much jerking around the public with all the contradictory state- you didn’t have the ambition to make your living by selling idealization of the great things that happen elsewhere, things ments. I often wondered if you were related to Malcolm records and T-shirts, even though you’re a music lover. that are actually quite normal in other places, let’s just come McLaren. Did you consider Nuevos Ricos as an art piece, My true ambition was to create something like an autono- back and screw around with things here. It was something like he did with his Sex Pistols? mous subculture and provide it for our generation—and like: Hey man, let’s do something great with our inferiority I felt really sad when he died some weeks ago. I first read the younger ones—in Mexico. I thought that it would be complex, maybe then nobody will notice how uncool we are. about him when I was thirteen years old, his Sex Pistol’s an amazing thing to do, like a real rock movement, not in story was super. People like him totally inspire me and I the musical sense but in a cultural one, where people start And so then what happened? Ironically, there was a lot of can see a strong link with his idea of calling something like dressing and doing things in their own strange ways. This feedback coming from other countries…BUT, not from a punk band art. Still I continue to have my doubts as to was something we kind of missed out on when we grew up Mexico, even though things were happening here. Were whether it’s right to call Nuevos Ricos an art piece. Maybe in the eighties. Let’s say we knew and had a slight glimpse there some moments, landmarks, that you remember in it’s just that I see it as part of the work I have done in general, of punk, dark wave and new romantic and other amazing particular? as a space for letting my art exist in the world at large and not movements, but we never got to see the real thing. I think It was great, we had a slogan, remember it? “Nuevos Ricos be confined to the art world system. In that sense, I would that this void created an anxiety in people my age in Mexico, World Domination,” so that is what we did! Yet in Mexico prefer to call Nuevos Ricos a platform or a structure for let- the feeling of missing out on something really good because many things did happen. To begin with we were hated by the ting my art happen, something like a medium. Pirated Nuevos Ricos CD covers. 36 - 37

The great thing about Nuevos Ricos is that everyone who a capitalistic social hierarchy. This approach to art is in my in the past for others to make their interpretations of and participated saw it differently, like it was for you or for Julian opinion very selfish, just for pleasing an elite, and for the who transformed it? Or did you feel that it was just turned ( Julian Lede aka Silverio—editor’s note) or for the oth- sake of becoming one of its members. into a shallow, decontextualized simulacrum of some- ers in the bands. Each has his own version, what you and I Since what happened to me with a major fashion house* thing, something that was originally much more complex? did is different from what I did with Julian and so on. So I copying my black butterflies installation for their shop, I am I feel ambiguous since the first guy just plainly stole my work guess what I’m trying to say is Nuevos Ricos was successful extremely interested in researching the implications of that and used it for their own purposes without transforming because it wasn’t packaged as a precise product but it was story. I have been making and presenting a lecture in dif- it; their art director even contracted an artist to create the something to become, and that potential attracted people. ferent places, now I believe that this could become a really shop display, what I interpret as a smart move to avoid legal Yes, for me Nuevos Ricos was a game with the media, that’s interesting film, I mean a real film, for cinemas. I just got a responsibility. But on the other hand, by their bringing the where I got my kicks since I am not a musician or a per- producer and someone to put the money up, do you want to image into the fashion industry it allowed for its movement, former; I loved to see the level of how absurd things could be involved? and this was ideal for something like my archive of images get, although I was, and maybe still am, very idealistic about and how I use it. So I think that the first fashion house’s art what we were doing and find that the absurdity was a para- A fashion house stole your idea of the butterflies? That director is the real crook and should be stopped for stealing, dox since we wanted a serious change of attitude in people. sounds intriguing, tell me more about it! What were your but involuntarily he created something larger and more com- lectures about, and what implications did you discover? plex. What is interesting is that if for instance I made mens- Of course…a mission impossible, but still very entertain- Yes, it happened in 2008, more than a year after I had pre- wear using this image, no company could put a copyright ing. Was there something that you remember as the big sented the piece for the first time at Yvon Lambert in New complaint against me or others for the use of the graphic, “big mistake”? Something that you would do differently, York. I was very shocked of course when I saw it at first and since there has been a string of copies, a chain of crookery. if you could? (Except for kicking ass earlier with most of the obvious thing to do was to speak with a lawyer, to sue In a sense, by not suing as the original artist (and that is our rock stars that started to behave like Madonna.) Or them, but then I thought about how much of my time that debatable because of the image in the book) and through its was it also the desire to focus on something else, move would take and it made me think of other options. Also I further misuse, the image has become free of artistic rights. on? When you mention creating a “medium,” I also have understood that it would be ridiculous to start to take actions An image without artistic rights goes back to nature! to think of your earlier work, with the wrestlers. Now that against somebody copying me when a lot of my work is Nuevos Ricos is finished, do you have something new in based on promoting such copying. Even though this image will now be associated with cer- mind? Something along the same lines? So then I thought that I could turn the whole thing into an tain meanings and maybe is free of artistic copyrights, I think there were millions of mistakes! Like we started with art piece, make it mine (because you know that after the first, but not in all contexts, could one cancel the other out. A the MP3 thing too early with the mentality of giving away two other labels followed suit and stole the images and made paradox maybe? The more an image gets used, the more the music, and then we went into that whole shit of mak- dresses and underwear) and used the clothes as a sort of it vanishes? ing proper records with EMI and pleasing our artists with readymade or prefabricated art piece of mine. But to turn it Yes, it could be that it vanishes from industrial use, but it it. That was a huge mistake! We were already there when all back into art isn’t satisfying me, especially because a year could also mean that it becomes the wealth of a collective things began hustling some years later and we missed out on later after this happened Galia, my girlfriend, discovered an realm, like archetypes are. What is strange is that the image taking advantage of that momentum. Now I think we should image of a black moth in the book by W.G. Sebald that I was of the black butterflies is an image of death; that’s the way have made one release with EMI for the fun of it and then reading just before I got the inspiration to make the original it appears in Sebald’s book and that’s how it appeared in my just bagged it, we lost so much time there. I really regret that, piece, meaning, that I had subconsciously taken it from that mind in relation to the death of my grandmother. It’s chal- although I understand the reasons why it was so difficult to book and then transformed it into an installation. lenging to question why the fashion and art industries are so make the move and I remember all the pressure we got from My lecture is about this, about the travels of this image fixated on images of death, which reminds me of the begin- the bands, but still… through different graphic media and different professional ning of this interview. Now it’s your turn to answer. So…is Concerning the connection you mention, you are right to milieus. I am more into questioning, interested in under- Nuevos Ricos dead? compare the rock project with the wrestling project. I have standing how images travel culturally. What is the mean- always been interested in the possibility for art to exists out- ing of labor in this case and the ideas behind the issues of Yes, it is as dead as a dead rock star can be. But I made side its professional confines, outside the art world and its ownership. For instance, I just found out about a movement sure it received a shot in the head just to be sure that it will institutions. I believe that art can exist in a larger reality and of individualistic anarchists who radically believe in the free never come back to life, it is way gone now. Do you miss it? stop being only a simulacrum. To me it is not a discussion market and think that copy and author’s rights should be about medium or formal matters but about approaching the abolished, another sector of this same movement totally *Note from the editors: The names of three internationally renowned fashion subject. I can totally love and respect a painting hanging in defends it. labels were not disclosed to respect the designers’ confidentiality. a museum as much as I can love that McLaren said his band was art, that is not the issue. But I find that much of the art What’s your opinion about all of that? For example, did WWW.NUEVOSRICOS.COM that is produced today is only academic; the product of a you feel that the fashion designers transformed it into system of “inner circle” quotations that more than represent- something that you could see as a valid interpretation of ing the world are in reality communication tools for allowing the original piece, which then makes some sense because Pirated Nuevos Ricos CD covers. the upward-minded mobility of individuals to move within the butterfly belongs to the fluid archive that you opened 38 - 39 Carlos Ranc (1968, Paris - FR) / Artist, represented by Nina Menocal (MX) / Based In Mexico City

From A to Z, 2009. China ink on sundance smooth paper, 27 drawings. 40 x 40 cm each. Courtesy of the artist. 40 - 41 César Cervantes (1969, Mexico City - MX) / Entrepreneur / Art Collector / Based in Mexico City

By Macarena Hernández Interview

Macarena Hernández: What was the first thing you col- fun when I discovered there was a big difference It is hard to say, but I think the ones above were the most I had never thought about it that way, I only think I’m part of lected in your life? At the moment, do you have another between collecting well and collecting bad. Then I influential, but I could mention at least ten more. a community, of a generation and this is something I can do collection parallel to your contemporary art collection? discovered something very alarming: the difference and enjoy doing. There is absolutely no transgression of inti- César Cervantes: I had been thinking about this for some between collecting well and being a real collector is At this moment in time, which artist are you looking at macy with the openness of my house and collection, remem- time now and it would be my collection of “smurfs.” When subtle but brutal. and which book are you enjoying? ber not long ago everywhere, including Mexico City, houses I was between ten and twelve, I was really devoted to it and I will say that I’m always involved with the artists that are didn’t have outside walls, my house originally didn’t have took serious care of it. There was also a lot of passion in it. So I will say my collecting is subtle, I go very slow, lots of already part of the collection, it is an ongoing process, but one. I think I’m trying to demolish real and virtual walls, I remember the day I decided to put them away (I had grown seeing, lots of reading, lots of discussing; in terms of time in terms of new works or artists for the collection, I could in this way I love Dan Graham’s work (I don’t remember up…). I’m sure I didn’t give them away but can’t remember and money I will say all the works I will add to the collection mention Alex Hay, Edward Kraszinsky, George Brecht and its name now and I’m away) but it is that one that places a what was my “wise” solution at that time. I know they are in 2011 are already decided now. Of course in subtle things especially Man Ray. I have been following all of them for TV monitor outside of the house for passersby to see exactly somewhere but can’t exactly remember. there are lots of surprises. about five or six years, but it seems that the right moment, what the people inside are watching on their TV, I would Probably right now I’m more devoted to my book collection, the right work had arrived in all cases. More precisely, Alex love to add this work to the collection. however I don’t know if the book collection (library) is part How would you describe the curatorial approach to your Hay was one of those very subtle surprises that I discovered Life was more communal before and worked better, visitors of my contemporary art collection, or the other way around, collection? Who gives you feedback during the decision just recently. From my generation, as I said, more or less it is never affect my family intimacy, probably to the contrary, or simply that they are both part of my life in the more strict making process of choosing an art piece? almost the same ones, but artists that are not part of the col- they maximize it in reality. and etymological way, since “collection” comes from: “CU”— I think my curatorial approach is my own life: what triggers lection and I’m intrigued with are Sharon Hayes, Lili Reyn- cumulus “lection”—lessons. me, what questions me, what awakens me, what worries me, aud Dewar, Guillermo Santamarina. Your home works as an important point of reunion for the what makes me happy, what makes me sad. As with all ideas These days I’m reading, coincidentally, Truman Capote’s art world in Mexico. Do you have plans to share your col- Why collect contemporary art? Could you give us a brief and feelings they need some time for reflection, for them to Music for Chameleons and a beautiful poem book by Karl lection with a wider public? What would the strategy be to history of your process as a collector? mature, in this regard my collection or what can be seen as Holmqvist. Both are fantastic. achieve this? At some point very early on in my life I thought about my collection I suppose it is only a reflection of who I am or I had never thought or wanted my house to be an impor- becoming an artist, I was very attracted to it, and since then want to be. I have sometimes heard you say your house is a vessel of tant point of reunion for the art world, I’m more interested I realized that in true art there is a lot of sensibility, intel- Life is what gives me feedback in my decision-making. My ideas and proposals. How would you describe the relation- in people who today are not part of the art world, they are ligence, desire. But fortunately I decided long before not to worries at work, which have nothing to do with art, are as ship between your collection and its public? the people that really interest me now and who I focus my try to be an artist and forgot about art until I was in college important as they are wonderful. Even with tequilas with my The collection, or more simply, art, is nothing without a pub- efforts on. Art has been the best way for me to live my life when I bought my first painting was really strange and I real- friends, or simply only by chance listening to a conversation lic. Of course I live there and it is the best place for me not and if I can at least provoke that same thing to happen to one ize how meaningful it was when I walked onto the university in the street from unknown people while waiting for a taxi, only to see but to experience art, but the public is as much a single person I will be extremely happy. That it seems that campus with a painting that almost didn’t fit in my dorm or a table, but in the end I will say my friends have been what part of the collection as they are a part of my thoughts, the my house is important for the art world is simply because art and everybody on the campus had something to do with it: inspired and motivated me. people of my generation, the people with whom I live this happens there. opinions, wanted to see the work, etc. Today my three-year old son and my one-year old daughter life, I receive lots from my community so I just try to give I like museums very much, but I’m far from thinking that I then forgot about art for some six or seven years while I was are the first “things” that come to mind when I start thinking back as a facilitator of art. I clearly remember since I was a they are the best or most democratic places to see or expe- totally focused on building my company, but art was there, about a work of art. little boy how impressed I was by seeing some other people’s rience art. Do you really think walking in those enormous no matter what. I had no idea about art museums or galleries, houses and how much I learned and understood from that, museums that keep losing human scale and seeing lots of art, so I used to go to the park on weekends where some artist Over time, which acquisitions have been groundbreaking so for me opening my house is just like having a conversation and probably stopping for one minute in front of a good one would go to exhibit and sell and it was there where I started in the development of your collection? with someone, and sometimes a stranger can be as interest- is the best way to experience art? Museums are again starting again; little by little I discovered the whole system, went to Daniel Guzmán, Sleeping on the Roof, 2002 ing as my favorite friend for conversations. to feel like castles of the monarchy as they were originally. museums, galleries, fairs, etc. As Truman Capote said about On Kawara, February 27, 1990 It is absurd how big museums are now, how disproportion- being a writer I adapted the fact of being a collector: Gabriel Orozco, Dog Tail, 1995 It is very interesting that the intimate living spaces in your ate they are. Artists are making fun of them by making André Cadere, Barre de bois rond, 1977 family’s home are shared with the public (a select one). museum-sized works and people don’t realize it. Art is and One day I started collecting without knowing that Jimmie Durham, Still Life with Spirit and Xitle, 2007 Is this a transgression of intimacy in terms of your living should be on a human scale, so in this regard I think there is I had faded to a noble but implacable master; ini- Gedi Siboney, Untitled, 2007 spaces in your home? Does it have to do with an artistic no better place than a house for art, so this is also why it is as tially it was very fun, entertaining, it stopped being ideal or critic’s viewpoint? open as possible to the public. 42 - 43

On the other hand, museums are a necessity, they are good for the communities, of course, so yes, I have this dream of being part of a new museum in Mexico, one that will only happen if I can get the art community involved, the collectors to work together on it and for it. We should prove to ourselves that we are not into art for morbid reasons like accumulating power or wealth, but for art itself, so be sure that if it ever happens it will be a quite small museum, as the good ones of the late sixties were.

What can you say about the actual situation of Mexico’s contemporary art scene? It is getting better, but sadly there are still two or three people, at the most, who have only lived off the very scarce Mexican government budget going from one museum to the other, from one post to the other, the ups and downs with absolutely nothing important done in their very long careers. Although, since they can only live off the government budget they need to create scandals, to create enemies, to be “part of it.” They create fictitious associations or organizations, only to have “one more place” to be seen or heard and justify themselves. These people are getting old and the new generation is a lot more powerful, so fortunately they will be out soon. And, this very Mexican “art civil war” as I call it, will soon be over, at least these people don’t seem to have more fictitious enemies to fight with in order to call attention to them.

What strengths and weaknesses do you consider there are? Most of it is mentioned above, but there are a few more: on the one hand, infrastructure, it was one of the worst mistakes to create such a new museum (MUAC) for the National University on its main and beautiful campus while the university art school is simply falling apart in all ways and it’s still far away from campus (probably due to McCarthy-ism), it is even more sad that the museum takes far more from the budget than the school. Not that I myself think that education is important; what is important is learning not education, but we could say that art schools, especially the ones at universities should be something very special and important. On the private side, we are a very young country and a very young group of collectors, not more than ten have been collecting or involved in contemporary art for more than ten years, so we need to slowly mature, to learn to work together and this will facilitate the many things that are needed: artists, critics, art spaces, etc. We should not expect much more from the government, we need to create it or provoke it ourselves, there is plenty of energy and youth in this country, in the art scene.

Jimmie Durham's piece Still Life with Spirit and Xitle, 2007, in front of César Cervantes' private house. Courtesy César Cervantes. 44 - 45 Charro Negro Galería Gallery / Founded in 2006 / Guadalajara (MX) / Director: María José López / Represented artists: Edgar Cobián, Cynthia Gutiérrez, José Pérez López, Tomás López Rocha, Emanuel Tovar

By Chloé Fricout A Chic and Sparkling Cocktail

Charro Negro is the name that María José López has chosen long-term commitment, one has to take her time. […] We for her recently opened contemporary art gallery, a place that are only at the first stage.” A very dynamic and reflexive first has rapidly become an unavoidable spot for the Guadalajara stage, that is, where the Charro Negro is quickly finding its art scene. place in the midst of the tapatía [Guadalajaran] cultural life.

The young director, María José López (26) was raised within More than a commercial gallery, María José develops a plat- the art world: her father Tomás López Rocha is an infamous form for expression, diffusion and encounters. “We are try- painter while her uncle, Aurelio López Rocha, is a cher- ing to reactivate the artistic scene in Guadalajara working ished collector in Guadalajara. That certainly explains why together with the country’s different cultural actors…and at in 2006 this young girl decided to open a gallery where “bets the same time bringing foreign artists over. Guadalajara is are made, risks are taken, experiments occur.” The adven- quite a rich and important city due to its culture, but we ture began like lightening, surrounded by a group of friends, need even more engagement from collectors. We need to all young like her, striving artists and collectors. “They wit- join forces to reach even further.” This motto is concretized nessed how the gallery grew, they are really engaged and in partnerships with other institutions, such as the Museo enthusiastic about this project. At the moment I represent de Arte Moderno in Mexico City (2009) or the prestigious artists from Guadalajara. […] To represent an artist is a Jumex Collection; or even in collaborations with foreign galleries, as was the case with the Baro Cruz Gallery in São Paulo or the Balmoral Gallery in Los Angeles. In this way, Charro Negro exemplifies a common trend for young international galleries that keep widening their panoramas. But what distinguishes the Charro Negro gallery is that it engages emerging subjects, undertaking them in relation to the artists, as well as the collectors. With courses on art history, encounters with the artists or discussions related to the art market, the future Mexican collectors are being formed and aligned with their contemporaries. “They were already interested, but probably did not know what to do. In this case there is a common accompaniment… . At the end, they are the most reliable buyers.”

As a gallery, Charro Negro presents works in different media, sometimes in traditional formats, but always framed within vibrant and perplexing discourses. On a gallery tour, Emanuel Tovar Left one can go from works by Emanuel Tovar, who reassembles Sillón, 2005. Wood and ironically social symbols, to pieces by José Pérez López, who plasticine. focuses on video art, or even sculptures and recomposed 105 x 82 x 89 cm.

objects by Cynthia Gutiérrez. We can include the formal Right and very abstract research by Davis Birks, the sarcastic color Quik, 2007. Digital print. drawings by Edgar Cobián and the work of Tomás López 38 x 29 cm. Edition: 1/5.

Rocha, who depicts power with a style close to contempo- All images courtesy of rary animation. The gallery’s selection covers, in a mosaic- the artist. 46 - 47

Cynthia Gutiérrez Clockwise from left Night-blooming II, 2007. Iron structure, plastic leaves, sequined spheres, felt, wire, thread and spray paint. 30 x 20 x 54 cm. Courtesy of the artist. El Fantasma de la Libertad, 2004. Wood. 55 x 30 x 30 cm. Courtesy of the artist. Mantener el contenido, 2002. Bronze. 17 x 20 x 11 cm. Courtesy La Colección Jumex. 48 - 49 like assortment, the whole of the contemporary Mexican art Mysterious knight, the legendary Charro Negro advances scene. The artists express a political and social consciousness discreetly, and then strikes astoundingly. Something to be that approaches more the commentary or a punctual denun- watched. ciation than a full-fledged militant activism. One senses the quotidian; a political and social situation lived on an every- Translated from French by Javier Toscano. day basis, an evident context made up of local decisions and world developments. In the exhibition Sin título (Untitled), WWW.CHARRONEGRO.COM in 2010, María José López presents the painted portrait of a man who is wearing nothing but a T-shirt that covers his face, and a shovel as a weapon for revenge. In the work by Edgar Cobián, entitled Trinidad (2009), the man represents a universal figure, he could come from Iraq, Colombia or anywhere, but nevertheless, he reminds us of the disturbing heroes by the Mexican filmmaker Amat Escalante in his Los Bastardos (2009). We find again this same anonymous violence on Moris’s work Sin título, where the artist incorpo- rates the tropes of gossip-style journalism to underscore the involuntary assassination of a vagabond. Moreover, Moris frames a stamped piece of cardboard with the phrase: “el señuelo para atraer a la víctima” (the bait to lure the victim). In a country where social tension is materialized by sudden and ephemeral explosions, Gonzalo Lebrija positions himself on the side of the elite and proposes Caballo en el Aire (Horse in the air), a large-scale format photograph of a jockey on a racetrack. Luxury and precision give way to a desperate violence. With the background of an environment of misery, this duality is transformed here into a subtle class struggle by interposing works of art. Cynthia Gutiérrez adds to this intense micro-world another element: strings of security ropes that force the visitors to follow an imposed route.

To such works within a caustic discourse, we could add La Santa Cruz (The Holy Cross) or White Dumbo Flying over Infonavit, by Emanuel Tovar. The Charro Negro gallery oscillates between politics and anecdote, from formal pieces to works of narrative. Even if Mexicans are the most reliable collectors, they are not the ones who spend the most: seventy percent of sales are made to foreigners, in different international fairs. El gran truco (The great trick) by Cynthia Gutiérrez had a large success and will be presented at the Moscow Biennial in 2010. Art Los Angeles Contemporary, Art Basel Miami and Zona Maco in Mexico City are the gathering venues for a globalized Latino-American elite that keeps on buying. But what about the crisis then? “We are coming out of a frenetic period and entering a more serious market, better built, where the buyers are implied from the José Pérez López Boats from Around the World, 2002-2004. Digital photographs. Part of a series of start. It’s a good consequence from the crisis.” Not that much 9 images displayed horizontally in a straight line. 10 x 18 cm each. glimmering cash, but the likelihood of long-term engage- Courtesy of the artist. ments. Without losing her enthusiasm, María José López Left page continues on her way, steadily, and is considering a presence Tabachín Tree, 2008. Digital photograph. 60 x 40 cm. of her gallery in Europe. Courtesy of GLR Collection, Guadalajara. 50 - 51 Claudia de la Torre (1986, Mexico City - MX) / Artist / Based in Mexico City and Karlsruhe (DE) www.claudiadelatorre.wordpress.com

Clockwise from left Black Snow, 2009. Installation: 400 photocopies, blue felt and insulating foam.

(detail): 19 books containing 100 photocopies each. Each book is stamped with the date when the photocopies were produced. Variable dimensions.

(detail): Each A4 photocopy is stamped with the date it was produced.

Courtesy of the artist. 52 - 53 Curro y Poncho Gallery / Founded in 2008 / Guadalajara (MX) / Directors: Francisco Borrego and Alfonso Arroyo / Vice Director: Lorena Peña Brito / Represented artists: Augusto Marbán, Cristian Franco, Cristián Silva, Fernando Palomar, Francisco Ugarte, Gabriel Rico Jiménez, Homeless, Javier M. Rodríguez, Luis Alfonso Villalobos, Felipe Manzano, Octavio Abundez, Susana Rodríguez, Verónica Flores

By Gerardo Lammers Postcards from a Burning Plain

I met Geovana Ibarra to visit the exhibition José Clemente est sports and social club in the city, renown for its beautiful Orozco, Pintura y verdad (Painting and Truth) at the Instituto and oasis-like golf course (where golfer Lorena Ochoa made Cultural Cabañas Museum in Guadalajara. Until a few days her first steps). Sarabia might not be aware that becoming before, Geovana was the director of the Museo de Arte Raúl a member of this club almost equals becoming a tapatío (or Anguiano (MURA) the only full-fledged contemporary art even better, let’s omit the “almost”). space in a conservative tequila-devoted city with over six After a stay of a month, Nathan Carter, another US artist, million inhabitants and an amount of cars that, proportion- left Guadalajara with the idea that the capital of Jalisco was ally speaking, exceeds the number in Mexico City. very similar to Brooklyn. He confessed this during a meet- During this time of year (Spring 2010), the heat during the ing we had in a courtyard at MURA, where he exhibited his daytime feels like an inferno, not unlike Orozco’s El hombre colorful pieces. The works were produced in the ceramics de fuego (The Man of Fire), a mural in the dome of the colo- workshop of José Noé Suro in Tlaquepaque, a small Mexi- nial chapel of the Hospicio Cabañas. The exhibition con- can town that thrives on artisanal shops, and that recently sists mainly of easel paintings, which were produced by this became absorbed into the expanding metropolitan sprawl of prolific artist between his projects for large-scale murals. He Guadalajara. Architecturally speaking, Guadalajara does not was born in Jalisco at the end of the nineteenth century and come close at all to Brooklyn. But Carter found a similarity resided in Guadalajara. in the warmth of, and conviviality with, other local artists. We find, for instance, some landscape paintings that allude Yutaka Sone has come so many times to Guadalajara that he to this region. Images of agave plants—the thorny plant even formed his own music band, Tlaquepaque Band, which from which tequila is made—that perhaps transmit a sensa- in 2009, performed for free at the Teatro Diana, one of the tion of roughness and solitude, a sensation that is similar to most important spaces for entertainment shows in town how many tapatíos (the name for Guadalajaran locals) feel (where the Yeah Yeah Yeahs, Franz Ferdinand and Caetano about government support for the arts and culture. We also Veloso, among others, have played). During this last visit, find caricatures and delicate watercolors with costumbrismo Sone showed a gigantic fiberglass and metal palm tree in the scenes of cantinas and bordellos. central courtyard of the Palacio Municipal of Guadalajara. The Swiss artist Nic Hess did not waste his time in this Even though Guadalajara competes, in a pretty strange and regard either. Besides creating a mural painting (nothing like mediocre way, over the title of the country’s second largest Orozco, for sure) for the façade of the Omnilife building, city with Monterrey, Nuevo León, the capital of Jalisco has he has had an exhibition at the Museo de Arte in Zapo- become a stop for a number of foreign visitors. And for some pan (another municipality of the Guadalajaran metropoli- reason, the city suits many artists. tan area). A few steps away from the museum, in the Café I once asked Chilean artist Cristián Silva—an artist who Candela (actually a new cantina), Hess’ alter ego, Hermeto usually teaches a course about Duchamp and so undertakes Ze María, a Latin lover with a soft spot for striptease, gave a work that could be classified as a much-needed evangeliza- memorable (and, according to Geovana, an equally alcohol- tion—about his reasons for choosing Guadalajara (and not infused) performance. New York, Berlin, or another artistic capital) as his place of residence. His answer was simple: “In Guadalajara I feel like Fernando Palomar I am on a never-ending vacation.” Sala Juárez, 2008. Another foreign artist, the Californian Eduardo Sarabia, Lama bricks. Variable dimensions. Courtesy Curro y Poncho, Guadalajara. Installation in the university building site with the same name, met his wife in Guadalajara and feels so much at home here which was demolished by the Universidad de Guadalajara itself, in 1980. that he has become a member of the Country Club, the old- Ruta Orozco Project. Instituto Cultural Cabañas. 54 - 55

Francisco Ugarte. Dialogue, 2007. Site specific installation. Wood, lightbulbs and glass. Courtesy Curro y Poncho, Guadalajara. 56 - 57

Joep van Lieshout, Pippiloti Rist, Christian Jankowski, Liam niously and humoristically titled piece El artista sin talento se which still frames the decadence of man. Javier M. Rodrí- working… until the creation of OPA.” Gillick, Pedro Cabrita Reis and Saädane Afif are some of the vuelve abstracto (The Artist without Talent becomes Abstract). guez looks for order in chaos and for what is beyond his “You’re not a tapatía, are you?” artists who have passed through Guadalajara and have left García Torres’s work is a red monochrome oil painting.” control and possibilities. Luis Felipe Manzano is working “I was born in Mexico City and grew up in Mexicali. But this mariachi metropolis with satisfaction. “And what are you going to do now?” I asked Geovana. on a series of prints on scotch tape where he quotes artistic I’ve already lived here much longer than in any other place.” This is how things are in the capital of Jalisco, a city with “I was asked to do an interview for Peeping Tom about works that have been cultural patrimony and that have been “Wasn’t it difficult for you to get a foot in the door in a soci- an extraordinary amount of churches and one of the highest Curro and Poncho. lost because of a disaster. He questions the value of the work ety like this one, which is known for being very closed?” number of practicing Catholics on the planet Earth. At the We ordered a few beers and cecina (fried dry cured meat) to of art. There is a search for a break in the established order, “I now spend more time with tapatíos than in my first years. same time, it is a city where artists can live comfortably; by continue the conversation. A ranchera song started playing. and a certain despair or disenchantment.” In university there were many of us who came from else- frequenting the two or three interesting bars in town and “And what else?” where (from within Mexico, or from abroad). Hmmm… hopping from one house to another, going to never-ending Curro y Poncho is the name of Poncho and Curro’s gallery. “Well, you know that the situation for galleries in Guadala- I have always felt that here in Guadalajara all the people parties as if the world were ending the next day. These are two young university graduates who, in December jara is very difficult. There are few collectors. And these guys I know are related in one way or another: we can actually 2008, decided to open a gallery. They come from affluent want to stretch the limits of the gallery, using the promo- reduce the six degrees of separation to four.” When we left the Orozco exhibition, Geovana and I decided families and obtained a floor in the Torre Cube, designed tion and formation of audiences as an instrument to create “Is there an artist from Guadalajara who you think is key?” to do justice to the sunny day by going for some beers. We by the Spanish architect Carme Pinós located in the most information flows, opening the doors to collaborations with “Yes, Luis Miguel Suro. He was the one who connected the went to the Salón del Bosque, an old cantina that specializes ostentatious part of town. In less than two years, Curro y students. For example, they hold workshops to stimulate col- emerging artists with other generations. He also started to in Mexican snacks like tacos de lengua y cachete (tongue and Poncho has organized exhibitions that bring together art- lecting, also for those who want to get closer to contempo- invite important artists to Guadalajara to work in the Suro cheek tacos) and hierbabuenas (a refreshing drink similar to ists of different generations, like Francisco Ugarte, Cris- rary art.” ceramics workshop. He started to make contemporary art the Cuban mojito). The place is in the Colonia Americana, tian Franco, Fernando Palomar, Javier Rodríguez and Vero “Anything else?” from ceramics in an extremely traditional city. When he died a tree filled neighborhood with large houses, some excellent Flores, all of whom are representatives of the local scene. “They also have the project of Cheech & Chong.” in 2004, his brother José Noé took over.” examples of functionalist architecture from the 1960s and a “Well, let me clarify,” said Geovana, “Guadalajara does not “Like the US comedians?” “What do you remember most from your time as Patrick house/museum by Luis Barragán, one of the most famous really have a local scene. In order for a scene to come into “Curro and Poncho are like Cheech & Chong. That is how Charpenel’s assistant?” architects of the area whose most important work is in Mex- existence various initiatives need to participate and coexist: their friends call them. It is going to be some kind of lab out- “My first day of work was on the 16th of September (2000 ico City (he is also the only Mexican Pritzker Prize winner). independent spaces, like the school, the artists, critics, com- side of the walls, but more relaxed. The idea is that the artists or 2001). I remember that day because it is a national holi- Besides the waiters, who were getting ready to start their mercial galleries, independent spaces and public spaces or can present projects with a little more freedom, without wor- day (Mexican Independence Day). When I mentioned this, shift, the place was pretty much empty. We went out onto institutions (of the government). In this city, we can count rying too much about the commercial side. It is also going to Patrick told me: ‘So what’s the problem?’ He did not have the terrace to have a better view of the jacaranda trees that ourselves lucky if we have three of those. We do have art- include a space to invite artists from other cities, and to open an office like he has now, so I would go every morning to are in full bloom, turning the streets lavender. ists, collectors, a few galleries, some independent alternative networks, collaborations, etc.” his parents’ (next to Santa Tere, a neighborhood known for “Why did you quit MURA?” spaces and excellent food.” It was impossible to get more into it until the torta ahogada small stores and car mechanics where you can find anything “I thought it was unacceptable to confirm in the newspaper and the chabela arrived. on sale) and I would sit at a small desk next to his bed. Pat- that the next exhibition that I had to present was El Mundo A few days later I met Geovana in La Alemana, another old rick (who curated the most recent show of Gabriel Orozco según Mafalda (The World According to Mafalda), an interac- cantina in the center. La Alemana is known for its draft beers I know Geovana since we were students at university, more at the Palacio de Bellas Artes in Mexico City) already had a tive show for children. I don’t have anything against Mafalda served in tall and rounded glasses called chabelas and tortas than twelve years ago. She studied architecture at ITESO, lot of work with his curatorial projects and the collection was (the famous cartoon character and brainchild of the Argen- ahogadas, pork sandwiches soaked in a spicy tomato sauce. a Jesuit and famed liberal institution that is located on the growing at an accelerated rate. A few weeks later we moved tine Quino), but it was a show that totally did not fit the They are made with birotes, local rolls similar to baguettes, outskirts of the city. Because there was no good arts school to the office where he still is to this day, on the 22nd floor mission and thematic interests of the museum. On top of which indicates the connection that Guadalajara has always in the city, some artists decided to study something related to of the Torre Américas (an elegant building whose ground that I had had it with the bureaucracy.” had with the French community. then dedicate themselves to art in a more wild way. In many floor Charpenel has transformed into an electronic music MURA belongs to the city government and—like all muse- “How was your interview with Curro and Poncho?” I asked ways, Guadalajara is a wild city that, similar to its artists, bar, which, judging from its customers, must leave him with ums of Guadalajara—it is subject to the whims of the politi- Geovana. grows in a disorderly manner. good dividends). Since then, I have missed the time when cal climate and even the fickleness of the people in power. “Good. I saw Poncho. Curro is getting a master’s in England.” “How did you get involved in the art world?” I asked Geo- we used to work in his home, being around his family and When Geovana’s renunciation was published in the culture “And how is the gallery?” vana, who had already had a torta ahogada and a few chabelas. admiring the works in his collection. Many of the works section of the Mural newspaper, a new employee in the cul- “Well, it’s a peculiar gallery: the artists and gallerists are “I think that everything started with Expo Arte, the inter- were arranged, quite surprisingly, between the furniture, tural branch of the Guadalajara government declared that almost the same age.” national art fair that they held in Guadalajara, in the 1990s. like a taxidermied sleeping dog by Maurizio Cattelan. The two-dimensionality was going to reclaim its space in the “There is a particular line in the work of most of the young Many of the architecture students were hired to be gallery Charpenels placed the piece so that it greeted the visitors museum. She clearly alluded to the return of painting exhi- artists of Curro y Poncho. They share a somewhat dark assistants during the fair. A few years later, Patrick Charpe- from one side of the living room sofa.” bitions. This commentary is part of a long debate, which is view of the world, they are stoic with a sense of humor. For nel, collector and independent curator, invited me to work mostly pushed by a group of traditional artists (of which instance, Luis Alfonso Villalobos speaks about man’s vulner- with him. In those years some friends had already started OPA (Oficina para Proyectos de Arte) is located on the 23rd there are plenty here), against the ill-called “conceptualists,” ability and the power of nature over the human; Cristian to have exhibitions. They showed wherever they could: in floor of the Torre Guadalajara, next to the Parque Agua who are accused for hiding their lack of talent behind new Franco develops a discourse around decadence and carnival offices, empty lots, rooftops, uninhabited houses. In those Azul, one of the few green areas of town. OPA not only mediums. “These are painters,” Geovana says, “who mostly as opposition to dominant systems; Susana Rodríguez was years a lot of artist collectives emerged, like Jalarte A.I., Inci- offers a great view of the four cardinal points of the city, make abstract work, which makes me wonder if it is not working on collages and installations about destruction and dental, NAP, the 16/16, Ediciones el chino, CACA, LIPO. but has also become the most important and long-living the opposite and reminds me of Mario García Torres inge- is now going towards a more visual and seductive point, This actually fortified many local artists in their first years of alternative arts space of Guadalajara. Three artists, Fer- 58 - 59 nando Palomar, José Dávila and Gonzalo Lebrija, created the space. For one reason or another I seem to remember one of the first performances: it was a paper plane competition—the planes were thrown from the top floor and made their way to the avenida 16 de Septiembre. OPA is a unique space for the production and exhibition of contemporary art. Through this type of artists-run space, its founders have become—and quite aptly—cultural promoters. Because the artistic careers of Dávila, Lebrija and Palomar have become more demanding, they have recently appointed as directors another tapatía—Mariana Munguía, now thirty-four, and a sociologist, former director of La Planta (a short-lived space dedicated to art from the Omnilife collection), and of Labo- ratorio de Arte Alameda in Mexico City. “The big contri- bution of OPA,”says Munguía during one of my visits to her home in the Colonia Country Club, “is that the invited artists don’t bring work that is already made, instead we offer them a production platform and a supportive environment to develop new projects, taking as a source of inspiration the specific space of the office”A Perfect Soul, by the British artist John Isaacs, is the most recent exhibition in this space.

Geovana stayed out late at a party last night and was not available, so I went by myself to the opening of A Perfect Soul (May 2010). I went to talk to Isaacs for a bit, who was having a beer with José Dávila on the OPA terrace. On the other side were sculptures of gigantic pills, made in the José Noé Suro workshop, there were also a throne-carriage that reminded me of a Tarot card, a video made on a nearby beach and a neon piece with the sentence Tears Welling Up Inside. Isaacs was in a great mood. Even though he was returning to Berlin tomorrow, he said that he couldn’t wait to come back to Guadalajara. “Do you have a special project in mind?” I asked him. “No project. Quite the contrary: this will be my project,” he responded.

Translated from Spanish by Sarah Demeuse.

WWW.CURROYPONCHO.COM Felipe Manzano Natural Selection, Bad Keeling, To Influence, 2008. Triptych. Oil on wood. 9 x 12 cm each. Courtesy of Curro y Poncho, Guadalajara.

Susana Rodríguez Top After 7:00, 2009. Wood, fabric and plastic figures. 72 x 46 x 23 cm. Courtesy Curro y Poncho, Guadalajara.

Bottom Arcadina, 2006. Metal. 10 x 47 x 15 cm and 5 x 18 x 10 cm. Courtesy Curro y Poncho, Guadalajara. 60 - 61 Daniel Monroy (1980, Guadalajara - MX) / Artist / Based in Guadalajara www.vimeo.com/danielmonroy

Intrasigente (intransigent) detail, 2009. Five channel video installation. Still from channel 5. 1 hour loop. Variable dimensions. Courtesy of the artist. 62 - 63 Demián Flores (1971, Juchitán - MX) / Artist / Founder of La Curtiduría and Taller de Gráfica Actual (Taga) / Based in Oaxaca

By Guillermo Fricke Following in the Footsteps of Maestro Toledo… Oaxacan Legacy.

After 2006, Oaxaca was put on the international political map. arts projects, publications and educational programs. Demián Today, Demián Flores is one of the most renowned artists WWW.DEMIANFLORES.COM The news over the Internet and alternative media showed inaugurates spaces to help in the specialization and profes- nationally and internationally, with over twenty solo exhibi- WWW.LACURTIDURIA.BLOGSPOT.COM us pictures that seemed to be outtakes of a civil war. Dur- sionalization of new generations: he understood that Oaxaca tions. But his recognition goes beyond that, including the WWW.TALLERGRAFICAACTUAL.BLOGSPOT.COM ing this “war” the art emerged from behind the barricades, needed more theory and criticism in art, and tries to show founding of different spaces and projects that are sowing WWW.PROYECTOZEGACHE.COM street style, street talk, day by day the façades were painted new generations of artists how to make a living from their their first seeds, and that in the future may be the fertile with graffiti demanding the departure of the governor Ulises creations. ground for new artists. Will Demián Flores grasp onto the Ruíz. The next day the graffiti were covered over with swathes baton that Francisco Toledo began to run with more than and patches of color and by the afternoon new slogans would In 2007, Demián Flores along with Zegache’s director Geor- twenty-five years ago? Can Demián Flores leave an artis- appear. gina Saldaña invited roughly twenty-five artists—among tic legacy over the next twenty years? The answer is simple, them: Francisco Toledo, Francisco Castro Leñero, Jan Hen- YES! In the same year, Demián Flores, founded La Curtiduría, drix, Betsabeé Romero, Sergio Hernández, Guillermo Olguin, an independent cultural space creating a place for dialogue, Dr. Lakra, Óscar de las Flores, Óscar Bächtold, Filemón exchange, education and contemporary art production in Santiago, Irma Palacios, Alejandro Santiago, Gabriel Maco- Oaxaca. Between 2007 and 2009, twenty-four artist residen- tela, Daniel Lezama, Mario Rangel, Helen Escobedo, Luis cies were undertaken, twenty-six exhibitions, fourteen work- Argudín, Laurie Litowitz, Perla Krauze, Felipe Ehrenberg, shops, lectures, performances, concerts, and so on. With these Rafael Cauduro and Javier Marín, to join the project Zegache. activities La Curtiduría has created a meeting place for the The Zegache workshops were founded by painter Rodolfo community integrating the needs of young people, participat- Morales (Ocotlán, Oaxaca, 1925) in the community of Santa ing artists and providing a space for creation. Ana Zegache as a way of controlling migration to the United States and to provide jobs for those who stayed behind. Oax- Years ago, in September 1988, Francisco Toledo (Juchitán, aca is one of the leading states in Mexico where migration is a Oaxaca, 1940), founded the Instituto de Artes Gráficas de way of life. The mission of this workshop was to preserve the Oaxaca (IAGO). The institute fulfills its mission to showcase artistic heritage and revive the old crafts of the region, among the large collection of artworks collected by Toledo (about them estofado (scratching to reveal layers of paint below) and 16,000 graphic works) and has become Latin America’s larg- dorado (gilded) woodwork used in the altarpieces of sixteenth- est library specialized in art. In 1996, he founded the Centro century churches. In the beginning, the project provided Fotográfico Manuel Álvarez Bravo, dedicated to the pho- women (the ones left behind in the migration), a job, so that tographic arts and two years later, he opened Cineclub El they might become caretakers of their legacy by participating Pochote, a place dedicated to the moving image. The three in a rescue of not only the architecture and artistic finishes, spaces were in Toledo’s own home, which he restored to make but that would return the essence to the village, its role as a the three structures on his property suitable as cultural centers, spiritual, social and cultural center. placing Oaxaca as one of the most important cultural centers nationwide since 1980. Last year (2009), La Curtiduría in conjunction with the Uni- versidad Autónoma Benito Juárez de Oaxaca (UABJO) and Living in Oaxaca, and directing the Centro Fotográfico Man- with the support of the Fundación Harp Helú, joined forces uel Álvarez Bravo since 2007, and IAGO since 2009, for me to offer the Clínicas para la Especialización en Arte Contem- draws direct comparisons between Demián Flores and Fran- poráneo (CEACO), aimed at updating and professionalizing cisco Toledo. Not only with the opening of La Curtiduría, but the contents and practices in the visual arts today, with an also the Taller de Gráfica Actual TAGA( ), a place of training, emphasis on the critical and objective ability to develop artis- creation, research and experimentation that develops graphic tic proposals in Oaxaca. Novena, 2003. Carved wood. Variable dimensions. Courtesy of the artist. 64 - 65 Diego Teo (1978, Mexico City - MX) / Artist / Based in Mexico City

Migration, 2003. Matches. Variable dimensions. © Haydee Rovirosa. 66 - 67 Edgar Cobián (1978, Guadalajara - MX) / Artist, represented by Charro Negro Galería (MX) / Based in Guadalajara

By Jessica Berlanga Taylor Left page: Todo lo que se dice es falso, 2008. C-Print. 94 x 120 cm. Courtesy of the artist and Charro Negro Galería. below: Paraíso II, 2008. Oil on canvas.150 x 120 cm. Courtesy of the artist and Charro Negro Galería. monologue my first contact with creativity was through drawing and i use it to try out my ideas in the creating process i have also used drawing as a finished piece of work to present certain projects impossible for me to carry out at that moment or that do not need to be developed further my art history references are mainly all those that have filtered through to pop culture i generally work from the collective ideology and images present in mass media precision interests me as a reference to order to the rigor attached to the search for what is ideal for beauty or efficiency in comparison with reality and its rather chaotic nature working with different techniques implies being able to materialize my ideas in the most convenient way within an outline where distinct media are submitted for discussion the technique functions as a tool to bring out ideas and in no way do i see it as an end in itself i very much appreciate working with diverse materials and the ideas of other artists and have this sensation of having techniques as during the process of creating a work impor- found something important in the end one hopes to be able tant discoveries may be made subtleties that can only be per- to communicate something moderately legible to others art ceived while working and that end up enriching my work it as a tool for thought that attempts to subvert the beginnings is made up of a group of plaster figures animals angels super- of reality these messages do arise and seem to cross through heroes etcetera that are popularly used as decorative pieces my entire production perhaps because a recurrent theme in including a particular figure a tight fisted hand produced my work is utopian thought compared to real structures and specifically to form part of the group the different charac- the limited scope of our own nature the way of approaching ters are unified by red and black colors that together refer themes and creation in general is from my own experiences to certain symbols in the politico ideological field they are and conflicts i work from my immediate context one could historically associated with images identifying leftist move- say that even when references point towards a wider con- ments workers trade unionists or revolutionaries as does the text my work is extremely personal spirituality as a process raised fist the pieces are mounted on a terraced base in an of self-observance in which idealization intervenes spiritu- apparently symmetrical military formation the characters ality as a way of projecting the ideal i to then attempt to occupy their place stoically proudly or placidly building up approach this model as near as possible spirituality interests an image of the possibility of recreating hierarchic structures me from this perspective transcendence searching for that of order and power fundamental pillars in the configuration which exceeds the plane of the objective and death as the of our social systems sociopolitical ideology that contem- final end the cessation of consciousness to make an appoint- plates utopian thought within its discursive structure as an ment with death is more a way of reflecting on the impor- engine and activator of social change also about our capacity tance of a profound consciousness of our existence the pos- to imagine alternative social models that seek to evolve into sibilities that this implies and the anxiety that accompanies a luminous future and the consequent incapacity to fulfill lucidity even when my central interests are still the same i these models and sustain them unfractured today more than have dealt with them from different perspectives and sup- ever images of violence infest the media and have become an ports owing to my need to explore all possibilities and con- excellent product for the masses and are therefore a referent sequent disenchantment up to a certain point my work seeks in the collective ideology not very optimistic about what may to manifest mankinds failure in its search for a better world happen between the spectator and my work is to discover my imaginary comes from my personal experience from my 68 - 69 immediate context from endless sources that have to do with my interests literature history everyday happenings my roots in my more recent work i have integrated referents extracted from the imaginary linked to leftist ideologies ideas that are later converted into a work are in my head for a long time where they combine overlap and interact and then usually theyre put on paper in the form of drawings or short phrases and after a while if i consider them pertinent i carry them out the process is not lineal i see it rather as a structure in constant development beginning from defined interests and branching out in different directions allowing rereadings of my works and crosses beyond a purely chronological vision throughout history an aesthetic line linked to violence has developed where we can cite religious images wars execu- tions etc mostly to try to approach the theme of violence indirectly through images that touch off the spectators own fantasies about it what i mean is that violence is not present in the work the images possess a contained strength that in the best of cases is detonated in the observer according to his or her own iconic influenced references of groups linked to violent practices i fantasized a lot about the future all the destinies i could imagine would converge into a yearning for lucidity that would function as a weapon to confront reality now i have no more than vague memories of these fantasies and i really cannot imagine the future

Proyecto de excavación, 2008. Ink on paper. 19 x 23 cm. Courtesy of the artist and Charro Negro Galería.

Right page Desborde IV, 2006. Bond Paper. 6.5 x 28 x 21.7 cm. Courtesy of Charro Negro Galería. 70 - 71 Edgardo Aragón (1985, Oaxaca - MX) / Artist / Based in Oaxaca and Mexico City

Family Effects, 2007-2009. HDV to DVD. 22 minutes. Courtesy of the artist. 72 - 73 Eduardo Sarabia (1976, Los Angeles - US) / Artist, represented by Proyectos Monclova (MX) / Based in Guadalajara

By Jorge Munguía Matute Stories over Stories in Search of Meaning

The work of Eduardo Sarabia is known for the staging and of humor and at the same time with very serious subjects. documentation of partly fabricated and mythical narratives, and its usage of subculture imagery, hand-made crafts and com- Your piece Relación de un interés fits into this scheme of plex situations. Born in East L.A. of Mexican descent, he has telling a story…depending mostly on myth. Can you tell been in close contact with plenty of experiences associated with us how this piece happened to be? drug smuggling, confusing explanations of facts and contact Before starting this project, I was fascinated with the idea of with the use of different means like songs, objects, tattoos, just to making a reality out of a dream. The starting point of this name a few, that narrate histories in the making, negotiations project was a dream that my grandfather had of looking for of meaning. In this short interview, Sarabia offers entry points, a treasure. According to him, he knew its exact location. I misleading or not, to three major works. never knew if it was true or not, but all of the stories about the search that my grandmother told me were fantastic, like Jorge Munguía Matute: In terms of the building up of your when he went to a psychic, hoping she could help him find it. career, how do your professional interests start to define I was very little when he did his searches. When he died, I themselves? collected all of the stories and related documents in order to Eduardo Sarabia: I’ve discussed this with successful friends, continue the search. I wanted to do this in a very serious way, and although each has his own definition of success, there creating myths and stories, with the final purpose of keeping are no formulas and no one can explain how or when they the treasure. First I made up a story to get funding to do the start their own path. search, then another so I could get permission from the gov- When I was a little kid I was a mathematician. I studied ernment to be in that area, then another to try to avoid the sciences and enjoyed playing chess. I thought I was heading danger of the area between Mazatlán and Culiacán, which is towards math, but a new teacher recommended that I start a land of drug lords, then another for the local people, and so taking art classes on Saturdays. From there I went to an art on. In the end all of these stories created yet another story in high school, and then an art college in L.A. All of a sudden my mind which is what I believe now. I couldn’t leave the arts because it was too difficult. Art was That project was very particular because I only wanted to the only thing that I knew and loved to do. start my own company in order to find funding to do the search. But since some of the funding came from a museum, And what about your interests for the narco-culture? I had to create objects to place in the gallery, which was part I have always been interested in subcultures. Growing up in of the deal. So this also became part of the things I had to East L.A., subcultures played an important role of the eve- “invent,” but not entirely, because I used the things I found ryday with gangs and other groups that grew by being isola- during this time like images, people or even what I felt to ted in the US I started researching the romanticism of being recreate the situations while I was there. Not exactly invent- part of those types of families and relationships and realized ing a myth, because there was also some research—of power this was so closely related to “inventing” and myths, a specific relationships in the area, how the drug lords work, how each way of creating for every need. My father was from Mazatlán, town functions, the presence of drugs and money—and Sinaloa, and we spent the summers there visiting our gran- this is how my interest in these subjects began. It was here dparents. Along with East L.A., the music and the narrative when someone told me about a chapel in Culiacán devoted of storytelling influenced my search to explain what I’m thin- to Malverde, the “protector” of the drug dealers —an image king and tell my own stories—some true, some fiction. created between culture and new imagery with good intentions and bad at the same time. It was fascinating! Are you telling stories in your pieces?

Yes, I think so. I believe all my projects are very narrative: telling Sierra de los milagros, 2003. Gouache on paper. 61 x 46 cm. a story to make a comment, create something new, with plenty Collection of Masashi Shiobara. 74 - 75

A Thin Line Between Love and Hate, 2005. Hand-painted ceramic vases and silk-screened boxes. Variable dimensions. Courtesy of I-20 Gallery, New York. 76 - 77

Clockwise from top left If This World Were Mine, 2003. Hand-painted ceramic. 213 x 213 cm. Courtesy of I-20 Gallery, New York.

Lo quiero todo (I Want It All), 2003. Super 8 film on DVD. 3 minutes,18 seconds. Courtesy of I-20 Gallery, New York.

Walk Right Up to the Sun, 2003. Gouache on paper. 46 x 61 cm. Collection of Paul and Alice Judelson.

Babylon 1 and 2, 2006. Acrylic, pen and gold leaf on paper. Diptych. 61 x 84 cm each. Collection of Alejandra Redo. 78 - 79

Which would you say were your insights of this experi- that imagery. The works have been presented throughout tate, relax and then continue with the exhibition. And this Can you talk a little bit about the zoo across from your stu- ence? How did it translate to your later work? Europe and the US and they are well received, looking from is why I wanted to place some paintings outside the room, dio? How do you incorporate experiences of this as part of Above all, I was impressed by how simple the people in that abroad. However, in Mexico, the effect is totally different, which are not related at all to anything that I do, but easily the references for future works? area are and think. We all know how drug trafficking is such since it is more of a certain repulsion. The topic might be are thought of as high art contrasting to what was inside Part of my process is allowing myself to start at one point a big problem in Mexico, especially in the past five years. everyday in the newspaper or on the radio, but still it seems the room. and not know where I will end, but gathering pieces here When I did the project, ten years ago, I found fairly common that it shouldn’t be given any space as “culture.” and there. Across from my studio there is a magnificent zoo, people with dreams that they seek with a certain romanti- How would you differentiate between high art and popu- mostly of animals that have been recovered from drug traffick- cism. They really just wanted to do their work in order to Many of the stories, songs, images that belong to this spe- lar culture? ers’ houses. From this place I have collected plenty of images reach their goals and not be bothered by thinking of the cific subculture depend on violence, intimidation and fear. I don’t make a difference between high art and low art. and pictures that have been used to create other things. That damage they are causing on a global scale. You even start How do you re-appropriate these ideas into an aesthetic When people write about my work, many times they refer is why travelling and seeing different things are very impor- feeling empathy for this situation. value within your works? How does this translate to an to it as low art because I use handmade crafts. I find it amus- tant to me, because things that seem unrelated suddenly have For example, while on the search, I met an interesting installation like the small storage room you created for the ing and play with this in my work because I don’t see it that a common ground, but not really—yet still they somehow, in guy. There were many marijuana plantations, and this guy Whitney Biennial? way. Both parts of the installation were very specific and very a strange way, make a lot of sense in my head. approached me to ask me what was I doing. I was walk- Something I like to do with pieces is to not only show them, intentional. ing with a group of four assistants, and I told him that we but add a hidden or unknown element in a space where they were researching a specific type of butterfly that migrates can be a bit undercover or tucked away in boxes. For the through the region (we were carrying cameras and equip- Whitney Biennial I used the space more as a storage room ment). We talked for a while and through the conversation full of different objects like ceramics, some inside a box and he turned out to be a very nice guy whose job was only to some without packaging, as a critique to the museum and make sure that nobody was around that area. Eventually I general consumerism in which people acquire goods that confessed that I was actually an artist and I made objects, end up not even on display or used. Part of this installation and he started telling me about his interest in commission- was also a book in which I reproduced a sort of mail-order ing custom sculptures in marble. I offered to make an object catalogue of the objects in storage. Each object was repre- Sierra de los milagros, 2002. Fiberglass and wood. 191 x 191 x 191 cm. Holzer Family Collection. for him, and he described a dream of his where a siren was sented by an image, a price (even though they were not for coming out of the water. He wanted a sculpture of her in sale), and a brief text written by thirty artists, curators, musi- his pool. Sometime later, in Guadalajara, I asked José Noé cians, etc., that I commissioned. The 1-800 number printed Suro, who has a ceramic factory, to help me create a siren ris- in it was directed to my personal mobile so I talked to over ing from the water looking upwards, with flowers falling and 500 people asking for information, wanting to buy or ask- creating ripples that had images in them as well. The piece ing questions, resulting in a dialogue outside the museum. was done though I never went back to give it to him; I kept This book was called The Gift, based on the old notion that it. Still these kinds of stories from soldiers or people from creating an artwork was a gift by God, where the artist gives these small towns, from such humble backgrounds, have left something to society. The objects represented mostly images a big impression on me, for example on the importance or associated to drug trafficking but really it was about ideas of value that money has among them. power, creation of value and myths.

Thinking about the objects of this nice guy you met, and This and other walk-in installations of yours put the audi- your artwork, it seems both are nurtured by everyday situ- ence in a position where they have to read through all the ations and are an important part, from different angles, of layers of narratives. building a culture. What resemblance do you see among I believe everyone carries their own story and interprets their these? How are your artworks a part of this Northern own way, which I love. For example in Cuarto del Tesoro, Mexico culture? Or do they belong to a different “world” shown at the Museo Tamayo, there were many symbolisms by being part of the art world? like references to staircases of power from the seventeenth Both are created images. Nevertheless, my artworks are for century or a parrot that can be an animal for someone or a an imaginary culture. I don’t feel that anyone from that way line of coke for another to stimulate different readings of the of life would want to be associated to the objects I make. work. I wanted to create this room inside a public museum I don’t think they would want to have them around their as if it were just discovered within the walls and tells a whole houses since they produce a certain uneasiness that might story of a culture. It seems easy to understand but at the same seem wrong by the society. The ceramics, for example, are time it doesn’t make any sense. The installation contains all kind of kitschy with reference to traditional crafts, but also of the aesthetic elements to make believe that it contains contain imagery from the drug trafficking culture, so they plenty of symbolisms. On the other hand, it creates a space bring about a specific fright or repulsion that is related to within the show that allows you to be with yourself, medi- 80 - 81 El Resplandor Music and performance group / Founded in 2009 / Genre: Experimental, Noise / Band Members: Pia Camil, Esteban and Anajosé Aldrete / Based in Mexico City www.piacamil.com

In December 2009, El Resplandor did a residence at Garage, a music venue in Monterrey, Nuevo León. During their stay they recorded their first album with YoGarage and did a live presentation of it with costumes and scenery made for the event. The album artwork, also designed by El Resplandor, was a series of unique collages made for CD and tape covers. © Cuauhtémoc Suárez 82 - 83 Fernando Etulain (1972, Mexico City - MX) / Photographer / Based in Mexico City www.FERNANDOETULAIN.BLOGSPOT.COM

Above CHRONORADIAL VII, 2008. Lambda print. 20.3 x 25.4 cm. Courtesy of the artist.

left page FARBTAFEL I, 2008. Lambda print. 50 x 40 cm. Courtesy of Centro de la Imagen, Mexico City © Fernando Etulain 84 - 85 Francis Alÿs (1959, Anvers - BE) / Artist, represented by Galerie Peter Kilchmann (CH) and David Zwirner Gallery (US) / Based in Mexico City www.francisalys.com

When Faith Moves Mountains, Lima, Peru, April 11th, 2002. In collaboration with Cuauhtémoc Medina and Raffael Ortega. Video. 30 minutes. Courtesy of the artist; Galerie Peter Kilchmann, Zurich and David Zwirner Gallery, New York. 86 - 87 Gaga Arte Contemporáneo Gallery / Founded in 2008 / Mexico City / Director: Fernando Mesta Orendain / Represented artists: Claire Fontaine, Adriana Lara, Ricardo Nico- layevsky, Alex Hubbard, Guillermo Santamarina, Antek Walczak, Diego Berruecos, Karl Holmqvist, José Rojas, Jay Chung & Q Takeki Maeda, Carissa Rodriguez, Emily Sundblad, Danny McDonald

By Magnolia de la Garza Interview with Fernando Mesta

Magnolia de la Garza: What is Perros Negros? the artists—which was, at the end of the day, what we liked Perros Negros is a cultural production office, where I worked to do and why we did the things we did—within the context for five years withAdriana Lara, Agustina Ferreyra and with of a gallery was actually quite viable. You work with the peo- Eva Svennung later on. ple you like, you have a dialogue with them, generating an Fernando Mesta: We worked on a series of projects with art- economy and a calendar that activates itself more rapidly, and ists we were interested in; we found the funding, the spaces, in which you have a share of the capital produced by these and developed the curatorship on the run. We produced projects. Many of the works we produced with Perros Negros records, a text based fanzine—which still exists—a couple of ended up being exhibited and sold by galleries at art fairs. residencies and an itinerant gallery, among other things, in The gallery presented itself as a good option. Adriana later that sense Perros Negros was very open and capricious. Later decided not to participate, because it was a very time con- these projects created a series of “constellations” (networks, if suming project that would mean too large a sacrifice to her you will) in which each of us still works individually. practice as an artist; Agustina had other jobs and later moved At some point the idea was for Perros Negros to become a to Puerto Rico and Eva was never interested in the idea. So gallery, but later we (or I) realized that the only one with the I suddenly found myself developing the project alone, which interest and the time to do the work that a gallery implies wasn’t in my plans because I like working as part of a team was me. The office still exists and is run by Adriana. and that is the way I have and had always worked. That is why I was never interested in putting my name on the gallery Can you describe your transition from Perros Negros to and calling it the Fernando Mesta gallery or something like Gaga? that. I feel that the artist bears the responsibilities and shares I believe it is important to clarify where you are coming the risks with me. from, because for me, Perros Negros is a project that defined many of the gallery’s lineaments, it’s where the idea of open- So why the name Gaga? ing a gallery comes from, the first list of artists, and to a Because it doesn’t mean anything in Mexico and at one point certain extent the spirit and some of the working methods. when we were looking for names—still as Perros Negros—I Both Adriana and I never felt like we were part of a group or found a name that I liked, until I realized that it implied an a generation, instead, our approach was much more individ- image that was too concrete and then I lost interest. In the ual, it followed our interests and concerns and then making list of names we made, the one that least resembled that first what we wanted to happen, happen. It was a very personal idea was Gaga, which can sound like many things: “dada,” project where we were not interested in pleasing anyone but “gallery, gallery,” “ha, ha,” or nothing. I must confess, it is ourselves and the people we worked with. a name I sometimes hate and sometimes like, but I enjoy I had been working in galleries and the time came when I fighting that kind of hatred I have for the name and trying began to think that what was next for me had nothing to do to make it mean something else. It’s an uncomfortable name with these commercial structures. A little after five years in and I am OK with that, because it makes evident that I don’t Perros Negros, there came a moment when it became tire- have the perfect name, or the perfect list, but you learn to some to be looking for sponsorships, living off of institutions make do with what you have. and developing projects that required a great deal of time, and perhaps more than tiresome, not quite economically viable. It was becoming very demanding and time consuming, ask- José Rojas Escultocolumna contemporánea num. 1, 2009. Granite, neon lights, aluminum ing for funding for our projects, that were in some cases very fixtures, marble, smoked glass, cotton, air conditioning filter, drywall supports. ambitious, and we came to the realization that working with Variable dimensions. Courtesy Gaga Fine Arts. © Diego Berruecos. 88 - 89

How do you develop the work with the artists? More than about spaces, it’s about postures, positions and commitment, seriousness and respect for the work. My rela- period, no punctuation, not even a comma, it is a king of How is the program carried out with the artists? the groups that people work with. After having the gallery tionship with the artists is based on this respect, but also on torrent, with no intent to put memory in order and turn it operating for almost three years, you realize that you aren’t a close communication and continuous negotiation, which into history. Rather, what is your work approach with them? against anybody. I don’t see competition in a direct sense. have been central elements to the project. My commitment I think, as Fulvia Carnavale1 was saying a few days ago, that Each artist has his or her circuit, collectors and a group of to them is there and so is the idea for these relationships to One of Perros Negros’s first projects wasLocalismos , a proj- we function a lot like constellations, in the sense that we curators and colleagues. It may be that a year from now an last in the long term, but we all know that divorces exist. ect in which you invited artists to a residency in the city’s don’t work in isolation, and this idea of collaborations and art center is more oriented towards a group of artists, but the downtown area and to create a piece from that experience. people that support and support themselves in other (and year after that may turn around, changing the scene, or there Given that the gallery’s logo is a piece by Adriana Lara, Localismos is a project that has to do with the context of the other) people’s practices is something I am very interested might be new art centers; things change constantly. I think that your tables are by Pepe Rojas ( José Rojas), in what city and how interactions take place within it. Do you feel in. There’s a group that was created with Adriana, Agustina the ghost of that Mexican idea of “one place” or “one bearer” way do you seek to involve the artists you work with, with that Gaga’s programming is also seeking to relate itself to and later with Eva, but before I worked for Air de Paris, then of power is still there; but in a practical sense I haven’t been your own gallery project? a specific context? I meet Antek or Claire Fontaine and in a way the guidelines confronted with it. I am doing this project because I want to keep working When we did Localismos, we were fairly young and we were of my work come from these encounters and the relations towards generating things that I find interesting and with interested in making a parenthesis to reflect on the pro- with these people. It is on the basis of these ideas that the I find it interesting that unlike many Web pages of other which I can keep the dialogue going. I am interested in cess of gentrification that was coursing through the Cen- work has been carried out, which has a horizontal structure, galleries, your site doesn’t have a list of artists you repre- representing people I am interested in, if you’ll forgive the tro Histórico, and it was a great experience. But in Otra de where we are all learning and building ourselves up at the sent, why? redundancy. vaqueros and after the experience of Localismos, we knew the same time. I work with a fairly heterogeneous mix of artists, with which As for José Rojas’s tables, if an artist wants us to, we put relationship with the context was going to be there, whether The gallery works by means of a constant dialogue, we dis- there is a series of shared postures, interests and ideas. How- them away. The idea is to work comfortably. For example, we placed it as the center of articulation or not. It was a bit cuss ideas, titles, works, press releases, displays, and there is ever, there isn’t a homogenization in terms of generation, sometimes I get tired of the logo or don’t like it, but that like walking away from the first show and concentrating on plenty of communication in each step. I trust them greatly, groups, “styles,” or in respect to their relevance in the market. is what you are. I am interested in thinking of myself as in other things, as one always does with one’s history. and there is in fact a degree of admiration from my part. I in I feel the relationship between artists and gallerists is based construction with all that this implies. Mexico City as a place in which to produce things is a para- fact must confess that I am a great admirer of what they do on the relationship itself; there isn’t a kind of predetermined dise, that is one of the reasons why I like having a gallery and I might even say an apprentice. Because what they do contract that could make it work. I have friends who are gal- Your last project at the gallery involved leaving its physi- here, and I don’t know if I’d like to have one anywhere else. isn’t merely plastic or formal objects, it is about postures and lerists whose artists have been taken by bigger galleries, there cal space. What are the implications of this kind of project Here you can make mistakes, in other cities, where you pay a their postures interest me very much. are even bigger galleries who have also taken the artists of for you? rent of $X…thousand dollars, a staff of another $X…thou- those big galleries. There is a series of expectations that you The gallery always spills out allover the place, beginning with sand dollars and fair expenses of another $X…thousand dol- Your gallery space and your relationship with that space have to meet when you start working with any artist, and the artist’s work affecting other places. This last show, If You lars, you have to sell $XXXXXX thousand dollars a month are very different from other galleries in the city, how do establishing these since the beginning seemed difficult and Let Me I’ll Destroy You, I enjoyed tremendously. Emily Sund- in order to survive. Here in Mexico City that is a long ways you play with these conditions in your projects? unrealistic to me. The way I work with artists is to invite blad is the co-director of Reena Spaulings, which is a gallery away, you can produce with less money, rents are more acces- The space, as such, I found by coincidence. The first time we them to do something in the gallery, if this turns out fine and whose schizophrenic way of working has always inspired me. sible and if you sell in one show and not in the other, you used it was with Perros Negros, for a show that was called we get along we can continue to work together, which, luck- This project of going in and out was her idea. I negotiated it can juggle and stretch things around. You have the leeway to Algunas bestias (Some beasts), with Felipe Mujica, Cristóbal ily, has always been the case. I think that saying “I am going and it wasn’t easy, but I felt that it was very important that it make mistakes and take risks. There is great freedom here, Lehyt, Diego Fernández and Johanna Unzeta. After that to represent you” is something you have to earn, maybe not happen as we imagined it, for it to make sense. one that allows you generosity and flexibility; that is what’s show, the space was ready. It is owned by a couple of friends earn, you have to see if it works or doesn’t, and it is difficult For me, going outside and then back inside isn’t a central incredible about working here. In that sense I am interested whose support has been vital in the development of Gaga, as to predict what “representing” implies, it’s always in flux and theme, it is important that if you do it, it makes sense; I in my context, also taking into account that the market is to it was for Perros Negros. specific to the moment and the artist. have no interest in the subject of space and its limitations. a certain extent global. I was interested from the beginning in opening a gallery that I have a clear view of how much I want to grow and the Your gallery, which is the artists that make it up, is in many wasn’t by appointment only, that was open to the public and relationship with the artist has to do with this as well. In other “spaces”: the cities they live in, collections their works 1 Fulvia Carnevale is part of Claire Fontaine. that didn’t work in an irregular fashion, but with operat- other cities, you have to be a “great” gallery since the begin- are in, group exhibits, the magazines where their texts are ing hours from 12:00 p.m. to 6:00 p.m., Tuesday through ning, and that implies many things. I am not interested in published. www.houseofgaga.com Saturday—unless when we were installing or de-installing participating in ten art fairs a year. I want to concentrate on a show—and that could be presented as another offer that the program here, and if that means I can’t represent an artist Since you talk about context, how do you relate to it, tak- would enrich what the city already offered. as he or she deserves and that artist has to go with somebody ing into account that you work with Mexican as well as I think it is becoming clear that in Mexico City, everyone has else, then so be it. There will always be artists coming and foreign artists? their own thing and nobody is pulling in the same direction, going, it isn’t something that I like and I hope to always be As I was saying, since Perros Negros, the dialogue and col- so the more options we have and the more distinct they are able to meet the artist’s expectations, but you never know. laboration has been with the artists more than with the idea from each other, the more the scene is enriched if we manage of the local, obviously, the center stage or main context of to generate a dialogue. So you’re not thinking of representing, but of generating this relationship has been Mexico City, where the work is projects. first exhibited and a place with its own peculiarities. But So then, do you believe the diversity of space prevents the I am interested in having the relationship build day by day, despite sounding redundant, the work is more centered on fragmentation of the art scene? rather than a “list of represented artists.” Obviously, there is a these long-term collaborations and relationships, there is no 90 - 91 Galería de Arte Mexicano (GAM) Gallery / Founded in 1935 / Mexico City / Directors: Mariana Pérez Amor and Alejandra Reygadas de Yturbe / Represented artists (selection): Stefan Brüggemann, Álvaro Castillo, Fernando García Correa, Jens Kull, Miguel Monroy, Edgar Orlaineta, Diego Pérez, Saul Villa, Alfredo Castañeda, Gun- ther Gerzso, Jan Hendrix, Joy Laville, Carlos Mérida, Irma Palacios, Abel Quezada, María Sada, Mary Stuart, Fernanda Sánchez Paredes, Trini

By Patricia Martín Conversations with Mariana Pérez Amor and Alejandra Reygadas de Yturbe

then, women weren’t supposed to work, and second of all, What was the status of those artists at that time? What in a better Mexico, in a post-revolutionary Mexico where the vision to open a gallery was very uncommon. It just influence did those artists from the gallery have in the writers, musicians and artists shared values and principles so happened that Carolina, the eldest child of the Amor artistic panorama? (Diego Rivera, José Clemente Orozco, David Álfaro family, wanted to work and found something at the Palacio MPA: Diego Rivera was already a god. Orozco was also Siqueiros, Rufino Tamayo, Miguel Covarrubias, Agustín de Bellas Artes in Mexico City and through that she met famous. Oddly enough, they couldn’t sell their easel paint- Lazo, Juan O’Gorman). What role did their gallery play? Ignacio Chávez and was introduced to many artists. ings. The challenge for the Amor sisters was to absorb ARY: The gallery was the home of eternal tertulias (“social” as much as they could from these giants. At the time, it gatherings). Open from 9:00 a.m. to 9:00 p.m., it was a cru- Did Carolina become Chávez’s assistant? was a real scandal, two liberal women associating them- cial meeting point where things happened. The artists would MPA: Yes, she was his assistant, and that was what was selves with artists, communists. Society looked upon them discuss and exchange opinions about art and politics. On expected of a young woman who came from an established disapprovingly. Wednesdays, artists would meet to sketch live models. Mexican family whose finances were compromised. The ARY: I’d like to read something to you from a rather curious MPA: Around that time, Inés started to meet many Mexican Revolution had left her grandfather penniless, and letter of Inés’s. It’s a pretty entertaining story about Leonora people from outside of Mexico. The country experienced a the girls, both eighteen, realized that they had three options: Carrington and one of her paintings: period of unseen glamour: you had the bullfighters, movie go find a job, waste away or stay at home making cheap des- stars and famous personalities. The Spanish refugees and serts and pretending to be rich girls—niñas bien. At one point, the surrealists were in New York and intellectuals also arrived. The gallery then turned into a made a painting together. They took a somewhat center for writers, artists, musicians, people like Ramón It is important to remember that, when Chávez was the stained sheet from André Breton’s bed and stretched it Xirau, Xavier Villaurrutía, and José Vasconcelos. There was head of Bellas Artes, the Instituto Nacional de Bellas like a canvas. With the help of Max Ernst and Marcel an effervescence of ideas around the gallery. Artes (INBA) did not even exist yet. Duchamp they started to paint it. The work is almost MPA: You are right. So when Chávez’s term ended, the entirely hers, even though all painted something on Did Inés have a model that she followed, or how did she go artists told Carolina to open a gallery. She liked the idea the sheet. It is a unique work, which, if you ask me, is about designing and developing all that? and suggested her parents’ house as an option (at Abraham worth a fortune, at least 40,000 dollars. Even though I MPA: The gallery always functioned in an intuitive way, by Inés Amor. © Galería de Arte Mexicano. González, No. 66). The artists came and saw the space in think it is a very high price, I don’t think Leonora is so learning from the artists. She would sit down with Rivera the basement of the house. They liked it and together they far removed from reality. Thanks for the photo. I will and Orozco and ask them to tell her what they knew. They Patricia Martín: What is the Galería de Arte Mexicano started preparing the space and opened the gallery in 1935 treasure it in my archives. Very best wishes, Inés Amor made decisions about the gallery, together. The artists had (GAM)? Where did it come from? What distinguishes with a presentation of works by Diego Rivera, José Clemente their opinions about the gallery. GAM from other spaces in the panorama of galleries in Orozco, David Álfaro Siqueiros and Frida Kahlo. It was pre- MPA: Inés was the sweetest, but she was also the toughest ARY: She did commit a huge mistake by intimately Mexico City and your country? cisely at that moment, when Carito had opened the gallery, one. Diego Rivera tried to run the gallery in his way. When befriending, and even more, mothering, the artists (this is Alejandra Reygadas de Yturbe: Mariana’s mother founded that the Rockefellers invited her to accompany them on a the Spanish Civil War broke out and the Republican refu- something which we have never done). Inés protected them, the gallery in 1935. It brought together the then most impor- trip to Guatemala. They were interested in Latin American gees arrived, Diego Rivera tried to control the artists that paid for their groceries, painted their houses, saved their tant of Mexican artists, but it did not have a structure like popular arts and she joined them because she was fluent in would and would not be shown in the gallery. He threatened money, maternal. She was also a lonely woman, because her today—marketing, a relationship with curators, a symbolical English and Spanish. Inés by telling her that he’d leave if she decided to show cer- husband had died very young. capital, it wasn’t influenced by museums.The fact is that one Inés, my mother, worked at the Excelsior newspaper, and tain artist. Inés showed him the door and told him to leave day, Mariana’s aunt, Carito, decided to open a gallery and a Carolina asked her to watch over the gallery while she was in if he pleased to do so—willfully and decisively. She never let Who were the collectors at that time? Did the collector- few months later needed to hand it over to Inés, who from Guatemala. Inés left the newspaper, joined the gallery and, herself be pushed aside by those monsters. figure, as such, already exist in your country? that day on remained at its helm. like magic, began to sell. Carolina, on the other hand, had ARY: There were four important collectors then: Licio Mariana Pérez Amor: In those days (1935), it was very not been able to sell a single painting. Inés knew the artists In 1935, Mexico City had three million inhabitants. The Lagos, Marte R. Gómez, and Salomón and Álvaro Carrillo. unusual for two women (sisters) to work. First of all, back and began to learn from them. population was composed of a generation that believed They collected works by Rivera, Orozco and Siqueiros. In 92 - 93 general, the Mexican bourgeoisie, a group that was pretty ARY: Indeed, she believed in art and had a vision. That MPA: Gunther Gerzso, for example, was like a father to me. I think that now that way and style of doing things has much unaware of culture, would go to Europe and buy Span- moment has now become a movement, but she lived this You can’t imagine what it was like to go to Gerzso’s house disappeared pretty much and that those that still persist ish still lifes, or fairly ugly and cheap landscape paintings. movement without knowing that she was in a current. There and listen to him talk. It was simply unbelievable. We learned are endangered. There is the market and it has its impli- With the Second World War, the US turned to Mexico were no curators or tendencies; only what was being made at so much from him. He was a man with incredible cultural cations—who you sell a particular work to, and how it is because Europe was prohibited. High-level intellectuals, the time. And she stuck by that because she believed in it. knowledge. We would spend our afternoons with Luis Car- sold. Everything has changed and has been adapted to mostly North Americans, started coming to Mexico: Alfred That was her task, her main work. It took a lot of effort on doza, or Justino Fernández, and we also taught them a lot. other interests that, at times, are more related to specula- Barr, Edward James, Leonora Carrington, Helena Rubin- her part to make people believe in her projects. She was ter- tion and not so much to what’s real, relevant and tran- stein and Henry Clifford. Inés saw the opportunity to bring ribly troubled by the ignorance of the Mexican market, even But didn’t they belong to an older generation than yours? scendental with respect to the value of art. The world Mexican art to the US and in 1939, she started organizing though years later, at the end of the 1960s, a true culture of Inés felt that she was a member of that generation, but you of art in Mexico underwent important transitions; it exhibitions there. She would, for instance, pack up sixty collecting existed in Mexico. More than twenty years had to were younger. How did you breach the generational gap went through decades of uncertainty and was intrinsi- works all by herself and bring them by train to Chicago. She go by before something like that could happen. and start a dialogue with intellectuals of such weight who cally linked to the social and economic situations that brought works by Rivera, Orozco, Covarrubias, Siqueiros, MPA: Tintino Legoretta, a brilliant banker, told my mother continued to be active? announced its end. It was a system of weak international Kahlo and Tamayo. to come work with him, instead of selling such horrible and ARY: Of course, we were the new generation, but the artists organization, it ultimately was unsustainable. How did communist paintings. Inés had to work really hard to make wanted a gallery that would sell their work. Even though you get through that? Did she sell work or was she invited to organize exhibi- people develop a taste for these artists. She was the center of our generation wanted to break away, GAM was already MPA: I think that we undoubtedly live without being totally tions with Mexican art? what happened in Mexico, and the whole world respected well established and that allowed us to work with artists who conscious of what you’re accessing. There is an entire genera- MPA: Inés started to meet many people, who would buy her. She worked in the gallery from 1935 until 1975 and she were older than we were. There was also Juan Martín, and tion that does not have a space, a generation that, I think, and invite her to organize exhibitions. She made connec- lived intensely. Inés was able to do something unique at the Mizrahi who was very commercial. But Juan Martín had missed the bus. I mean that life is like a bus with a route. tions with North-American galleries and museums—the time so she could develop professionally; and her private and Remedios Varo, Francisco Toledo, Fernando García Ponce, One can hop on and off as one grows up, and suddenly that Philadelphia Museum of Art, the Museum of Modern Art personal life was incredibly rich. She did not have to sacrifice and Vicente Castro Leñero. We realized that it was another generation got off and did not know where to go. They in New York; Henry Clifford adored her, Alfred Barr… one for the other. She did not go to cocktail parties or other kind of competition, and that, in the end, we were all in the stopped understanding things. Even though the new gen- ARY: The artists liked her, they would approach her because events: she would go from the gallery to her house, and all same place. erations are much more prepared, it was in the 1980s, that she would protect them, bring them abroad, and because she the rest seemed utterly superficial to her. changes on a global scale windowed a space for a genera- brought foreigners into Mexico. The gallery has organized Who decided to bring younger artists into the gallery? tion to feel displaced and they couldn’t cope. Many artists a total of 900 exhibitions. Imagine the amount of stories I Your mother fell ill after forty years and the two of you Was that Inés, or you? stopped understanding how things worked. could tell you! The repository of works has been sold almost decided to take over. What happened to the visionary ARY: We started to bring in younger artists, like Francisco in its entirety to the US, in Christie’s or Sotheby’s auctions. project of Inés Amor? How did you deal with that? Toledo, Olga Acosta and José Chávez Morado. That is how And you had already perceived this in GAM? When did All works state from the Galería de Arte Mexicano. MPA: My mother got sick and indeed left the business to life works, as well as the evolution of a gallery: new talents you become aware of this situation? Or did it take you by us. We knew practically nothing, but luckily we managed. slowly integrate themselves; some with more luck than others. surprise? In the 1940s, GAM was undoubtedly the most important ARY: I joined the gallery thanks to my sister-in-law, Ana And, all of a sudden, the gallery gets ahead, with all its ups and MPA: In the 1980s, when we said: “Something has hap- gallery in Mexico. Inés knew how to take advantage of the Yturbe, who, before she invited me to work in the gallery, downs. For instance, the sons of Carlos Mérida started to sell pened here,” and we did not know how to become a part of global situation, marked by the war against fascism. She had worked with Inés for six or seven years. One day Mari- their work outside of the gallery. it, we knew that we were lagging behind. At that time, we knew how to convert the gallery into an artistically attrac- ana arrived to see if she could be of help. As it turns out, Inés But we always had good communications with our artists. had a lot of neo-Mexican artists and we already knew that tive space for North-American visitors. In this sense she got sick that same day and never returned. They told us what they needed. Around 1975 or 76, we something was going on and that we had to do something was also a visionary and pioneer. MPA: Adriana and I are partners because of life circum- started going to art fairs, to FIAC in Paris with Gunther Ger- about it. We did not know what to do or how to participate ARY: There was also Mizrahi, but they did not have her stances. Inés stopped coming, and in the beginning the two zso, Washington D.C. with Mérida. in those changes. capacity to sell, or the sensibility, veneration of, or dedication of us didn’t do much. We were on our own and pretty young. MPA: But now, seventy-five years after GAM’s founding, the One day we gave a talk at the National Center of the Arts to art that Inés had. ARY: I understood the situation and decided to stay because world has undergone big changes, it’s taken a 180-degree turn. and the auditorium was filled with young people. All of a MPA: Inés would not sell to people who, she knew, would Inés had welcomed me many years ago. I couldn’t forget ARY: If Inés were still alive, she would not believe the sur- sudden the youngsters (Stefan Brüggeman, Edgar Orlaineta not be appreciative of the work. that, not back then, especially since Inés, when away, would plus value that art has nowadays. That did not exist in her and Terence Gower) started to challenge us and they told ARY: I started to work for Inés when I was eighteen. She left always leave the gallery in my hands. time, being involved in the art market did not have all the us we were petty bourgeoises who had no clue about what the gallery in 1976 and I had had the opportunity to work MPA: Pedro Coronel, for instance, did not like us because implications it has today. young artists were doing. That is actually how we got to with her for nine years. She taught us this seriousness and we were young and inexperienced. Some artists took their MPA: Everything was much more respectful. Everything know the new young artists. We invited them to do some- respect for art and the artist, as well as a sense of integrity. belongings and left. But the gallery moved forward. Some of had an absolute order and seriousness. Toledo’s first exhibi- thing at the gallery and the project happened. them trusted us and stayed with the gallery. tion at the gallery was a big and important one. A girl arrived Inés Amor was open to any kind of artistic expression. She ARY: That is when I met Francisco Toledo, who had already from out of nowhere and asked: “So, which one of you is Is that the underlying reason that contemporary art seems assimilated what went on in the world. It is important to come to the gallery, but he was with Juan Martín. We started sleeping with Toledo?” Imagine that! There were people who threatening to many people? Did you sense that? underline this experimental attitude, because the domi- talking and became friends. We went to his studio and after were not aware of the seriousness of this world and who did MPA: Very much so. The collectors and artists from the gal- nant historical context preached marriage and complete a while exhibited his work. We saw that we could do it. I not know how to be respectful. lery were all horrified with what was being shown. Many and unquestionable compromise with certain movements, would continue to go see Inés, who had emphysema and she wanted to leave the gallery, but we thought that people ideas and aesthetics. would dictate letters from her bed. couldn’t be so wrong. This is when we realized that some- 94 - 95 thing was changing and in 1999, we organized our first seems encapsulated, it shies away from confronting the relationship with your new artists, despite the age differ- About the gallerists exhibition of young artists. It’s when we understood that the real art world. ence? What are GAM’s new projects? Mariana Pérez Amor has been director of the Galería de Arte Mexicano (GAM) world was different. MPA: Yes, that is what happened. And all of a sudden, at the MPA: We obviously have a close dialogue and that stimu- since 1975. She is a promoter of Mexican art abroad and specializes in both end of the 1980s, a new generation came to the forefront and lates me. But I am also aware of the fact that this is hard. The masterpieces of modern art and art from the more recent Mexican scene. She contributes to the journal and is a Mexican consultant for Christie’s and At that time Francis Alÿs, Silvia Gruner, Thomas Glass- said it was going to conquer the real world, the global world. gallery will turn seventy-five (this year), and we don’t know Curare Sotheby’s. She is also the president of the Mexican Association of Art Promot- ford, Gabriel Orozco and many others were in Mexico. La And those who stayed in their comfort zone were surprised, what we are going to do. Nowadays, the competition is very ers, and a board member of the Museo Nacional de Arte (MUNAL) in Mexico Panadería and other independent spaces had also opened and did not understand. A similar thing also happened in strong—much more so now than it was before. We need a City. by then. How did you start connecting with that new cur- other disciplines: film, literature, music and the visual arts more cultured middle class in Mexico. It used to be an influ- rent of artists? in general. ential class, and now they actually embarrass you. Alejandra Reygadas de Yturbe holds a bachelor’s in art history from the Uni- MPA: Benjamín Díaz was the first one to bring us into that This is how the younger ones arrived with their demands I once heard someone ask, “Why are there forty first-class versidad Nacional Autónoma de México (UNAM) and the University of Phoenix, scene. He had a great eye. Our past gave us a bit of cache. and aggression—it was an altogether new energy. It is a gen- galleries in Mexico?” The reply: “Who is going to maintain Arizona. Between 1968 and 1976, she was personal assistant to Inés Amor They respected us, but even so it was still a lot of work. eration that realizes that the world is different. They see a them?” It is true that the Mexican middle class is very rich and subdirector of the Galería de Arte Mexicano (GAM), which was founded in Young artists can almost strangle you: they are demanding global world and want to be a part of it. and powerful, but they are so uncultured that you can’t keep 1935. Since 1976, she has been director of GAM. Between 1981 and 1991, and ask for many changes. That’s not easy for us because we Olivier Debroise told me this over and over again, and it forty or even twenty first-class galleries alive. she was a council member of the first auction house in Mexico (DIMART, A.C.), are two old mavens who don’t like to change their habits. But took me a long time to understand him. I felt that taking up We should reconsider several things, especially respect for which she also founded. In 1990, she founded Parallel Project, an association for the international promotion of Mexican artists in New York, Los Angeles and I am impressed by their capacity to do things and by their that position meant forgetting the past. He told me that it the young, because they are the future. The past is glorious, San Antonio. She also functioned as the project’s curator until 1991. She was a diligence. The art world has undoubtedly become more pro- was not about insulting the past, that the world had changed but it is also the past. The more you are able to direct things board member of the Museo del Palacio de Bellas Artes in Mexico City between fessional. Even though we don’t really partake in the strife and that it still integrates the past. He wanted me to exhibit towards the future, the more links you will have to the past. 1993 and 1998. Since 1994, she has been a member of the board of MUNAL of contemporary art, it’s draining on a personal level for the Francis Alÿs. Imagine that! It would be great if someone would be interested in the leg- in Mexico City. She contributes to the journal Curare and is a member of PAC young artists. Yet, on the other hand, they also thrive on it. acy for what it means, not for its material inheritance. (Patronato de Arte Contemporáneo). Alejandra has edited numerous catalogues We started including young artists almost as if it were a per- I identify with what you say. It was the beginning of the But that’s life. The new generations make me feel proud. and monographs and is an art consultant who has been invited to participate in sonal relationship. There has to be a relation, if you know 1990s, the last decade of the twentieth century. And there They activate and they act. This makes us feel alive and we a number of exhibitions in Mexico, the US and Europe. what I mean. Edgar Orlaineta and Stefan Brüggeman have was an energetic emergence of a large new group of great go forward. been the links for us to understand all the others. artists. Understanding them was not easy. Both Mariana and Alejandra are inheritors of Inés Amor’s legacy, which they MPA: That is why I feel that the metaphor of the bus is very 1 Rafael Tovar y de Teresa was the coordinator of the organizing commission have continued to foster with rigor, respect and success for over three decades. How did Diego Pérez, for instance, come to you, be at useful: you get on and off it, but when you get off, and you of the bicentennial anniversary of the National Independence Movement in Translated from Spanish by Sarah Demeuse. the gallery? don’t hop on again, you get stuck. Mexico. He resigned from this official post in October 2008. MPA: Diego Pérez participated in a group show organized by Edgar. From the moment I saw his work, I was in. I don’t think that this frustration has totally disappeared WWW.GALERIADEARTEMEXICANO.COM though. For instance, in the midst of your bicentennial, I The exhibitions that they curate draw on art from the gal- sense there is still a separation between the State on the lery’s collection. They combine works by artists who are one hand, and the intelligentsia and contemporary art on already part of the collection coupled with works from the other. younger generations. But they respect the work of other MPA: You’re right, it’s totally scary. This country is rotting generations by trying to create new dialogues. How do away. In one way or another the Mexico of the past had a older artists feel about this? political State, with smart people in the cultural sector; with MPA: The artists of previous generations don’t connect discussions at a high level. Inés’s generation worked together very much with the younger ones. Take, for instance, Irma to understand each other. Palacios or Francisco Leñero who are about to turn sixty. I think that Rafael Tovar y de Teresa1 is the last one in the They are part of a generation that feels totally displaced and government who actually knew what culture is. He left his they don’t necessarily understand what is going on. They’ve post at a moment when we are all sinking. It is frightening stayed in very comfortable positions. They were the ones that the authorities haven’t a clue about anything. who were going to revolutionize the medium but they got I sense that the State is surprised by this, but they don’t have stuck, because they were in a very good place. Mexico had anyone who has a vision or who has the intellectual capac- not yet opened up to the world in the way it has now and ity to understand the basics of contemporary art. They are they had already secured their market. totally paralyzed because they don’t understand anything.

Artists, who, in the end, in spite of their artistic talent You had to deal with two generational gaps. The first one and potential, did not leave their microcosmos of the nice happened when you were left at a young age with GAM, neighborhoods of El Pedregal, San Ángel and Polanco, and now there is a new one with young artists and you are are products of a protected Mexican world. This circle the older ones. Do you maintain that close communicative 96 - 97 Gonzalo Lebrija (1972, Guadalajara - MX) / Artist, represented by Laurent Godin (FR), I-20 Gallery (US) and Travesía Cuatro (ES) / Co-Founder of Oficina para Proyectos de Arte (OPA) / Based in Guadalajara

By Michel Blancsubé

I recall the gleam in Gonzalo Lebrija’s eye when, in 2007, tivity; the difference is slight and yet decisive. Lichtenberger: he was describing to me his dream image: he wanted to cap- “I cannot rid myself of this idea that I was dead before I was ture the tiny moment just before a car dropped from a crane born, and that through death I will return to this very state… broke the surface of a lake. The following year, unsure of the To die and be reborn with the memory of one’s former exis- quality of the still he might be able to extract from Breve tence is called fainting; to awaken with other organs which historia del tiempo, he suspended the car vertically so that its must first be re-educated is called birth.” For Artaud the pri- front fender skimmed the water without disturbing it. And mary concern is not to die in dying, not to let the thieving with the help of Photoshop Entre la vida y la muerte offers us god divest him of his life: “And I believe that there is always a free-standing vehicle in perfect equilibrium on a stretch of someone else, at the extreme moment of death, to strip us of water. In 1960 Yves Klein managed – admittedly using much our own lives.”2 less sophisticated means – to block out the tarpaulin he landed on at the end of his famous Leap into the Void. With Cruel or romantic? Entre la vida y la muerte (Between Life and Death) we see I would prefer not to the reflective screen of the Autopaisajes reflected in turn in this ultimate face-off. Convinced of the power of anthropo- Extract taken from the forth coming publication As Time Goes By courtesy of morphism, Lebrija uses the car, the symbol and ailing icon of Other Criteria. a capitalism in crisis, to give visual expression to a theme that pervades all philosophical and literary writing: the obsession 1 Georges Bataille, Hegel, la mort et le sacrifice, 1955, quoted by Jacques with death and, more precisely, with the moment of death’s Derrida in From Restricted to General Economy: A Hegelianism without arrival, that most enigmatic moment of all and the one for Reserve, in Writing and Difference, op. cit. p. 326. which, Heidegger says, we must remain ready, for it is the 2 Jacques Derrida, The Theatre of Cruelty and the Closure of Representation, moment when being is at last entire. lecture given at the Antonin Artaud colloquium in Parma in April 1966, reprinted in Writing and Difference, op. cit. p. 293. Thus it is necessary, at any cost, for man to live at the moment when he truly dies, or it is necessary for him to live Translated from French by John Tittensor. with the impression of truly dying. This difficulty foreshad- ows the necessity of spectacle, or generally of representation, without the repetition of which we could remain foreign to and ignorant of death, as animals apparently remain. In effect, nothing is less animal than the fiction, more or less removed from reality, of death1.

And what if, as was suggested to me by looking at Entre la vida y la muerte upside down, we imagined the car and its reflection as interchangeable?

Rebirth doubtless occurs through – Artaud recalls this often – a kind of re-education of the organs. But this re-education permits the access to a life before birth and after death (“… through dying / I have finally achieved real immortality”) , and not to a death before birth and after life. This is what distinguishes the affirmation of cruelty from romantic nega- Entre la vida y la muerte, 2008. C-Print. 169 x 127 cm. Courtesy of Galerie Laurent Godin, Paris. 98 - 99

The Distance Between You and Me 18, 2009. Lambda print. 55.25 x 65 cm. Edition of 3. Courtesy of I-20, New York. 100 - 101 Guillermo Santamarina (1957, Mexico City - MX) / Artist, represented by Gaga Arte Contemporáneo (MX) / Chief Curator at Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City / Writer / Lecturer / Based in Mexico City

By Kerstin Erdmann Fragments about Guillermo Santamarina: Occasional Artist, Chameleon with Alter Egos and an Obsession for Music

The caption “I couldn’t find a DJ for your party, so I brought Rolling Stone” on a “divine yellow radio,” or when I showed you a curator instead,” accompanies one of Pablo Helguera’s the cover of Rubber Soul during recess, and I had already Artoons currently on display at the Museo de Arte Moderno visited the new Museum of Modern Art—it had only been in Mexico City. Helguera’s cartoon, in which we see a man open for a year—at least three times, I felt the urge to tell who opens the door to a friend with the substitute DJ/cura- a bored after-school teacher who was waiting for me to go tor, pokes fun at the contemporary art world. home that my drawings did not represent something spe- Obsessed by music from a very young age, Guillermo Sant- cific, but that they were an abstract pastime. To which she amarina, curator, artist and occasional DJ, has a collection of replied with infinite disdain: “Abstract! You idiot, what do approximately 10,000 vinyl records. Santamarina, the artist, you know about that?!” I think this is when I decided that has concatenated the icons of music culture with his personal I had to be very careful with my findings and try to please references. He has, in paradoxical actions that question one’s people as much as possible with common-sense stories, and attachment to obsessively collected objects, destroyed part of stupid songs. I think that from that day on, I have been a his collection. curator, artist and polite person who can take crap but who His artistic oeuvre is relatively small and has not been exhib- might later become insolent. ited much. Since the 1980s, he has worked as a curator and cultural promoter, in venues such as the Ex Teresa Arte Music and Silence Actual, the Museo Experimental el Eco and the Museo Uni- versitario de Arte Contemporáneo (MUAC). The projects in His artistic production, which is small but nevertheless truly these venues have given him international acclaim. interesting, stands out for its relation to music. In his first Santamarina’s artistic production has been forgotten by solo show in 2006 at the no-longer existing Celda Con- many, but also recognized by others, such as Cuauhté- temporánea of the Universidad del Claustro de Sor Juana moc Medina, who has written twice about Santamarina’s in Mexico City he slung about a thousand records against solo shows. In his column, “El Ojo Breve,” in the Reforma the wall. Some stuck to the wall, others broke and remained newspaper, Medina says: “Every time Santamarina returns dispersed over the floor. In this act, which he left open to to his discontinuous affair with art, one inevitably wonders interpretation, the artist presented a “performative” allegory whether what we owe him as curator came at the cost of his of the search for silence. In this performance Santamarina half-fulfilled promise as a true artist”1 became a rock star that smashed his instrument in the self- Guillermo Santamarina: As Van Vliet would say: “A carrot destructive climax of a concert. is as close as a rabbit gets to a diamond.” I don’t doubt that Another work, in which Santamarina cut a piano in half and there are people who have prematurely—since their youth or separated the pieces with a wall, speaks to this destructive childhood—defined their careers or life-projects. I recently creation. A poetic gesture that prevents the instrument from learned that one of my childhood friends became what he being used in a conventional manner, presents a prelude to a claimed he would be: an airplane pilot. He was, and has later work in which Santamarina makes a charango (a folk- always been, very focused and prudent. In high school there loric plucked string instrument) impotent through attach- were a few snitchers, one of whom ended up as a police- man and the other one as a representative of the National Revolutionary Voice, 2008. Charango and security stripes. Variable dimensions. Action Party (PAN). In 1965, when I listened to “Like a Courtesy of Gaga Arte Contemporáneo, Mexico City. © Diego Berruecos 102 - 103 ing a bunch of plastic belts around its body. This symbolical let them run in an eternal loop. Montiel so penetrated the castration totally silences the sounds and melodies. So the Albers paintings and became one with the paintings. Not objects are transformed into a strange otherness and exem- insignificantly, the title of this work isAtracción-Penetración- plify the imaginary world of Santamarina. In another work, Fecundación (Attraction-penetration-fertilization). he immobilized several records with manila packing tape GS: The culture of insolence contains a strong solvent pro- and hung them on the wall. That way, one could distinguish creative element. And so does the reiterative noise of the cryptic series of words with musical themes whose meaning needle in the groove. Or, to the curious gaze, the metaphysi- alludes to the intervention and the condition of the works. cal multicolored specter on half-exposed breasts. It is with For instance, one could read: Ojos necios (Stubborn eyes), La cyclical sound that tributary requirements are covered in the operación del riñón (The kidney operation), A mí manera (My Middle East, on the Inca heights, in the Huichol desert or way), and Derrota (Defeat). in the Hugo Largo—in the end, descendants of the Velvet GS: The transaction of freedom is an eternal value in the Underground. The culture of pragmatism and circumspec- perennial expansion of the collective unconscious. Yet, this tion does not really tolerate reiteration, gloating, doubts… collective unconscious has become an infrahuman category every day there are fewer certainties in the transfigured night below other factors for vital resistance such as being aggres- that flirt with us. sive, or embracing violence for others and for oneself, or the Santamarina injects Mondrian, Albers, Montiel, and the old savage delight, as it manifests in the majority of the popula- rock stars with new life, and he resuscitates them into the tion, and, for sure, the best of rock culture—may it rest in present. He recuperates the song “Quizás Quizás Quizás” peace. It is here that nihilism shows the vulnerable emblem Perhaps, perhaps, perhaps by Sarita Montiel, an attractive of my broken flag and faith, whose most suited temple is and famous movie star of the Golden Age of Mexican Cin- a vinyl disc with a groove. Smashing records against a wall ema who has gradually been forgotten. The echo of that is contemplating the immortality of auspicious archetypes. voice resounds with uncertain promise in Santamarina’s Joining those fragments means returning a motion of pru- artistic work…“Quizás Quizás Quizás”…and this is pre- dence and of individuation; it is the trans-poetic ascendance. cisely the mystery around a succinct artistic production that leaves us wanting new pieces with the same poetry as the Nostalgia and Memory ones we know of him even today.

As curator, artist Guillermo Santamarina has the advantage 1 Cuauhtémoc Medina. “Fuera del clóset curatorial,” in: Reforma, “El Ojo to learn constantly about national and international art. His Breve”: 29 October 2008. artistic work deals mostly with his personal past and not so much with the actual codes of the music scene or of contem- www.guillermosantamarina.blogspot.com/ porary art. One nevertheless notices in his works bands and artists that were influential, such as: Marc Bolan, Syd Barrett, Jobriath, Alexander Spence, Jeff Buckley, Tristan Tzara or Hélio Oiticica. In Distor, a collective exhibition at the Museo de Arte Carrillo Gil that was dedicated to Rock’n Roll, San- tamarina included 381 incense sticks to commemorate the artists who had died in three decades. The ignited sticks traced a mixed anatomy of Hélio Oiticica and Syd Barrett. Two modern painters, Josef Albers and Piet Mondrian, also reverberate in his work. In a work named Padre (Father), Santamarina used the same colors as Mondrian to portray a record with the grooves of the song. The combination of the color with the music is crucial here, as it is in the work Hom- enaje al cuadrado y a Albers y Sarita Montiel al mismo tiempo (Homage to the square and to Albers and Sarita Montiel at the same time). Albers was obsessed with a specific painting to which he dedicated a series of one thousand represen- tations of different colors that he organized in concentric Installation views from the exhibition Cantos revolucionarios del corazón squares. Santamarina, obsessed with music, juxtaposed these at Gaga Arte Contemporáneo, June 2008. Albers paintings with a Sarita Montiel record cover and he Images Courtesy of Gaga Arte Contemporáneo, Mexico City. © Diego Berruecos 104 - 105 Gustavo Artigas (1970, Mexico City - MX) / Artist / Based in Mexico City

Tres tiempos (Three Times), 2007. Action, Mexico City. Three series of 9 color photographs (50 x 60 cm each) and a 30 second video. © Gustavo Artigas. Courtesy of the artist, Taller 13 (T 13) and FONCA-CONACULTA.

Action repeated three consecutive days at the same place and time on 20, 21 and 22 February in Rosas Moreno Street, Mexico City. The action consisted of a re-creation of a passerby hit by a car. 106 - 107 Humberto Duque (1978, Mexico City - MX) / Artist / Based in Mexico City www.HUMBERTODUQUE.COM

Stiff by Geometry, 2009. Clay, vinyl on plastic. 33 x 50 x 31 cm. Courtesy of the artist. 108 - 109 Jaime Ruiz Otis (1976, Mexicali - MX) / Artist, represented by La Caja Negra (ES) and La Caja Galería (MX) / Based in Tijuana (MX)

Trade-Marks, 2008-2009. Found industrial stickers on wall. 30 x 150 m. Courtesy of the artist. 110 - 111 Jorge Méndez Blake (1974, Guadalajara - MX) / Artist, represented by OMR (MX) and Meessen De Clercq (BE) / Based in Guadalajara

Wall on Book, 2008. Pencil and colored pencil on paper. 50 x 70 cm. Courtesy of the artist and OMR Gallery, Mexico City. 112 - 113

Top Left Project for Open Library on a Mountain Top 5, 2008. Colored pencil on paper. 35 x 50 cm. Courtesy of the artist and Meessen De Clercq, Brussels.

bottom Left Project for Open Library on a Mountain Top 3, 2008. Colored pencil on paper. 35 x 50 cm. Courtesy of the artist and Meessen De Clercq, Brussels.

below The Exploration Library, 2008. Bricks, Plexiglass, audio CD. 1.7 x 3.7 x 7.5 cm. Courtesy of the artist. 114 - 115 Jorge Munguía Matute (1979, Guadalajara - MX) / Independent Curator / Cultural Promoter / Co-Founder of Pase Usted, Platform For Ideas / Editor at Tomo magazine and rufino.mx / Based in Mexico City

By Daniela Pérez Between Titles and Categories

Jorge Mungía Matute is an editor and curator who studied itself; and there are those who find it amusing and exciting Tell me about the public art project that you are working is appalling. I believe we should just concentrate on finding architecture and curating. His previous work has included: to follow this process. Both intentions demand diversity, for in Guadalajara. Is it still on and, if so, what phase is that community, as undersized as we perceive it [to be], and developing an education project for Documenta XI, Kassel; tools, access, information, platforms, etc. Cultural products it in? I am particularly interested in the less well-known be part of it and promote it. That is our responsibility, right? working as a curatorial assistant for Mexico City: An Exhibi- and the promotion of collaboration (rather than individual- projects that you are involved with, by contrast with the tion About the Exchange Rates and Bodies and Values at ism) help. likes of Tomo, Pase Usted and Pecha Kucha, which are www.paseusted.org P.S.1, New York and Kunst-Werke, Berlin; co-curating Tla- more familiar… www.tomo.mx telolco, and the localized negotiation of future imaginaries I have decided to ask you this next question for two rea- It is a very interesting project because it has gathered differ- www.rufino.mx at the New Museum, New York; co-curating Urban Voids at sons: one, because I am curious to know the answer; and ent desires and wishes, among the public and private sectors, Museo de la Ciudad de México; curating educational programs also because I think that the answer might be helpful to for a social cause. However, in our current phase, lobbying at Museo Tamayo, Mexico City; conducting diverse art theory readers who do not know about you and your work. So, takes time. It is slow and uncertain. Recently, the govern- clinics at SITAC; co-founding Salón, which runs curatorial, when you meet someone and they ask you what you do, ment of Guadalajara changed. Nevertheless, the projects editorial and art promotion projects; co-founding Pase Usted; what do you say? with SANAA and Jorge Pardo are still developing and are editing Tomo; and teaching design at CENTRO (cine, diseño, That is a question I’m never sure how to answer. My reply at a very advanced stage. televisión), Mexico City. often depends on whom I am talking to, because I find it very pretentious to say that I would like to do or be many Looking back at the diverse, multifaceted projects you Daniela Pérez: You are at Cornell University, New York things. I actually feel that what interests me takes place have been involved with, I notice that you collaborate at the moment (although your location will probably vary between titles and categories. from the position of a foreigner who is interested in Mex- throughout this conversation). As you are immersed in ico. What is your take on the interest that is generated in that academic context, tell me a little about your back- Yes, the in-between spaces are always some of the most Mexico abroad? I am thinking of the contrast between the ground and training as a professional, your experience of interesting contexts in which to generate and maintain exhibitions Mexico City: An Exhibition About the Exchange transferring from one city to another and the diverse places ideas with a relative freedom, even if they remain “stuck Rates of Bodies and Values and the project Tlatelolco and the you have worked, and your formal architectural studies. in between”… localized negotiation of future imaginaries, both of which Have theses processes led you to avoid tracing strict lines True, but this also means that you have to be careful about you were involved in? between the disciplines you move and operate within? where you intend to participate, whether it’s producing Well, both are common practices and I would add that we Jorge Munguía Matute: The programs that were available ideas for instant consumption and popularity due to the are missing Mexicans interpreting themselves, or anyone for to me never fully convinced me, but I knew that no mat- possibility of a certain freshness, or facilitating the building that matter. In either case, what I find interesting is when ter what I chose, I would get an interesting background and of bridges. there is an idea that stands behind and transcends the politi- tools to do something beyond what was being proposed. My cal boundaries or social aspects of an identity. In both cases goal is to participate in the process by which a community On the other hand, in relation to curating, I feel that it can be said that the exhibitions addressed a very particu- feeds itself in order to have a richer and more diverse reality. it is a profession that allows one to focus on a variety of lar interpretation with its corresponding statements and Since this process is related to the way a community devel- diverse themes, ideas and concepts. One might even say intended to question the audience and their beliefs. ops its curiosity, allowing different possibilities and develop- that curating is a good excuse not to become a specialist ing critically constructive points of view, a variety of disci- in a single topic but to dig deep into a particular point of Salón, one of the projects you are currently immersed in, plines have plenty to offer. Also, travel seems key. view and interest while maintaining ethical responsibility. deals with the fundamental task of generating and pro- What do you think about this? voking dialogue, and setting up a serious space for critical Where do you think the ambience of the community is I like that you mentioned the aspect of responsibility. Yes, reflection in Mexico. Could you elaborate on the nature found? Or what conditions are necessary to bring about curating can be key to producing several entry points to dif- of critical reflection among young people in this country, the process you describe? ferent subjects, but we must never forget the artists or those from what Salón allows you to see? In every city and in every neighborhood there are people— who are actually producing the “objects of desire,” and those Critical reflection has always existed, and it’s always in crisis. often younger people—[who are] interested in finding a who are and might become consumers. Invariably we believe that in the past everything was better, way to contribute to their community’s understanding of and there is so much to be done that it causes despair and 116 - 117 Jorge Sosa and José Luis Cortés-Santander (1976, Mexico City - MX) / Artist, represented by David Risley Gallery (DK) / Based in Mexico City (1980, Mexico City - MX) / Artist / Based in Mexico City

By Alejandro Almanza Pereda TRES BIEN

Alejandro Almanza |20:21:22|: How we end up having this work, to the curator’s intention, in another conversation via skype? moment. Jorge Sosa|20:21:45|: Because your are some busy dudes. JS|20:31:15|: Not in a fair. JS|20:21:57|: you do not have even time to talk to your JS|20:31:49|: What do you think? friends AA|20:31:52|: Mmmmmhhh AA|20:22:31|: Don’t play fool, you are too. JS|20:31:55|: In a fair, art and what is not, are characterized JS|20:22:39|: I remember those endless conversations in the same way. They are all catalogued, they between bottles and snacks. are just products for sale. That is the principal JS|20:22:45|: kind memories. objective. Then the rest comes, public rela- A|20:22:52|: So, you went to MACO (Mexico arte Con- tions, spreading of ideas, etc..That is the least temporáneo art fair)? important. JS|20:23:04|: (drink) AA|20:33:45|: Like you said, the art fairs have indeed an JS|20:26:10|: No, hey are you there!? I am talking by clear intention. myself? JS|20:34:08|: lets say, it is one of the most sterile places for JS|20:26:18|: How was it? the art world. AA|20:26:24|: Sorry, technical problems, I keep loosing the AA|20:34:11|: Yes connection. AA|20:34:42|: But it is a point of reunion for lots of galleries JS|20:26:42|: Me too. AA|20:35:08|: Not just from down here JS|20:26:48|: I hope won’t die on us. AA|20:35:23|: Internationally speaking AA|20:27:11|: uffff AA|20:35:28|: This time, in MACO, they were many south AA|20:27:17|: You did not go because you were busy or for a american ones. certain position you have? AA|20:35:31|: Which I enjoyed since unfortunately there is JS|20:27:23|: Hahaha no a lot of communication with other latin JS|20:27:55|: I wasn’t busy american countries (art wise) JS|20:28:05|: Could’ve have gone, but I found in general AA|20:35:45|: I met a few artists the art fairs really boring. AA|20:35:52|: and galleries JS|20:28:28|: How it go? AA|20:35:58|: To be sincere I do not remember almost AA|20:28:50|: But do assist to art openings, and art fair is anything from the fair. José Luis Cortés-Santander. Tarp, 2003. Plastic sailcloth and rope. Installation: variable dimensions, sailcloth: 1.5 x 2 m. Courtesy of the artist. just a big one. JS|20:36:04|: It is a good space for public relations. JS|20:29:05|: It is quite different, depends of the space that AA|20:36:30|: I remember the persons I met JS|20:37:54|: Something like that. becomes something so… host the exhibition; that is to say, it depends AA|20:36:36|: But It is a space that finances the art (in a AA|20:38:19|: I found it interesting that an art fair decontex- AA|20:40:18|: Flat on what they show and their intentions. way) tualize art. JS|20:40:56|: The decontextualization of art that you are JS|20:29:31|: I go if the project sounds interesting JS|20:36:38|: I just want to say that they are not inadequate AA|20:38:38|: The fair puts art in a pedestal, talking about is has to do with the capital- JS|20:30:05|: At the art fairs the intentions are quite clear. JS|20:37:03|: They are part of a local and global artistic AA|20:38:40|: but at the same time ization of it. It becomes a speculation. This JS|20:30:24|: The art is the lest important thing. system. AA|20:38:53|: there is a gap circles around commercially pure circuits. JS|20:30:37|: Sometimes you encounter attractive things, JS|20:37:13|: But I think these are impoverish spaces, from JS|20:39:00|: What do you mean? AA|20:41:01|: Any thing that the artist do can be capital- although, we can approach them in another my perspective as an artist. They are not made AA|20:39:32|: Well, the galleries main propose is to show ized, wherever you want or no. moment and time. for thinking about art. their art at the best way they can. JS|20:42:06|: The thing is how to think in the art nature JS|20:30:45|: You can approach to a gallery, to the artist’s AA|20:37:23|: An art fair is just a ceremony. AA|20:39:53|: But all of them do the same thing, so it is transformed, the experience of it; if this 118 - 119

change or disappears suddenly in art fair? JS|20:52:20|: hahaha JLC|21:04:03|: That would be good. evant for this occasion JS|20:42:49|: Art is capitalized as an object? AA|20:52:43|: Where the hell is Pepe? AA|21:04:04|: (poolparty) JS|21:07:38|: Agreed JS|20:42:58|: Capitalized as an idea? JS|20:52:52|: until then we will start our conversation. AA|21:04:41|: Why do reefer in that way to the performance AA|21:08:15|: My question for you is JS|20:43:18|: Are artists’s trajectory capitalized? AA|20:55:56|: Another question is that the decedent is the artists? AA|21:08:30|: How the hell did you came up with those type JS|20:43:23|: Are the socia-econmical net working other face of art? or the decedent are closer to JS|21:04:54|: Some artists tied themselves and walk of questions capitalized? it? together and walk around the fair, other ones JS|21:08:30|: It’s something I wanted to ask you about for a AA|20:43:32|: Art is Real State! AA|20:56:07|: Ohhhh el “Maestro” José Luis arrived… shout against the organizers. I am pretty sure long time, they are legitimate concerns. JS|20:43:48|: In best cases JS|20:56:14|: With that question we can start. somebody has taken a easel. AA|21:08:39|: (It is worth bringing to the attention of JS|20:43:52|: Hahaha JS|20:56:27|: it is ok… AA|21:04:57|: I have not seen that ever. our dear reader that, before beginning this JS|20:44:03|: and the worst of all, every body speculates AA|20:56:32|: Arte PUNK!!! PUNKart!!! (rock) (rock) JLS|21:05:14|: Jorge, have you been there before? It was conversation, we each sent each other two with fear. (rock) (rock) (rock) better? questions; it was supposed to trigger a great JS|20:44:05|: The good part of speculation is that the artist JS|20:58:09|: Decedents JS|21:05:29|: MACO is boring, because does not prone to conversation) receive a quantity of money on which he can JS|20:58:18|: Decendency is a process do any other parallel activities to the market JLC|21:09:43|: What was the questions? live and work. JS|20:58:30|: hahaha JS|21:05:37|: It may be one of most boring art fairs in the JS|21:09:45|: Jose Luis has forgotten his questions JS|20:44:18|: hahaha JS|20:58:33|: it is a state of being whole world JS|21:09:58|: When you are alone, what do you talk about? AA|20:45:06|: well $$$ (cash) makes the world go around. AA|20:58:34|: Pepe are you there? AA|21:05:48: I’ve seen worse JS|21:10:21|: After an opening, when returning from a JS|20:45:16|: Art fairs could be more interesting. José Luis Cortés|20:58:45|: Yes JLS|21:06:02|: that and the Mexican soccer league final mach party, what do you talk about? AA|20:46:01|: Oh yeah? how? AA|20:58:55|: I think Jorge left to anther chat room JS|21:06:29|: hahaha AA|21:10:38|: We are never alone JS|20:46:21|: Besides from being a commercial space, it JLC|20:58:55|: Yorch? JS|21:06:43|: Alright JLC|21:10:44|: In all likelihood we are too wasted to talk could be a place dedicated for the observation, JLC|20:59:41|: utsss! JS|21:06:59|: Let the party begin JLC|21:11:10|: And generally the party goes on at home critical studies and open dialogue. Unfor- JS|20:59:53|: hahaha JLS|21:07:28|: The celebration of art JLC|21:11:15|: And each one of us fades out as dawn tunately this can not be done if this is not AA|21:00:09|: Bloody decedent! AA|21:07:31|: Well, we really ought to do something rel- approaches rentable. JLC|21:00:12|: Bill gates |20:46:33| |21:00:18| JS : In a way, it is viable if a conference gather AA : a great example of an decedent. Jorge Sosa. Blank, 2008. Corks, wire and iron earrings (fake jewelry). Variable dimensions. Private Collection. critics that are rentable for the artistic system. JLC|21:01:07|: How I can read the gold spit by your mouths JS|20:47:45|: Even just to present them in a art fair. or maybe by your fingers? AA|20:48:25|: Well, you can see that at the art fairs. JS|21:01:29|: Just spin the wheel in the mouse JS|20:48:40|: But what if a group of artist generates an JLC|21:01:30|: I can’t, what are you talking about? interesting debate arena. Personally I do not AA|21:01:33|: It was a good conversation until you arrived, believe that can fit in the art fair. now we are getting shy. JS|20:49:08|: unless they shape it with rentable - commer- JS|21:01:42|: Haha cial outline. JS|21:01:43|: with bad vibes JS|20:49:08|: Don’ you think? JS|21:01:45|: what would you like to talk? JS|20:49:18|: How you can imagine the ideal art fair? JLC|21:01:47|: utsss!! AA|20:49:31|: I can imagine that now, but comparing JS|21:01:49|: What would like to know? MACO to Art Basel… AA|21:01:58|: Jorge, did you went to MACO the time when AA|20:49:55|: The Swiss fair has different alternatives from your gallery came? the commercial JS|21:02:08|: Yes I did, and I had a terrible time. AA|20:50:15|: Like projections, lectures, forums… JLC|21:02:20|: Why? JS|20:50:26|: I like that way of doing things, doing other AA|21:02:23|: Did get the VIP pass? dynamics. JS|21:02:48|: It was awfully boring AA|20:50:52|: They have spaces for installations and AA|21:03:04|: Should’ve bring your iphone performances. JLC|21:03:16|: but why? JS|20:51:06|: Even though the decedent side will never AA|21:03:28|: At least a sketchbook, bro… have a place to be, AA|21:03:32|: to sketch the masterpieces in front of you. In a way of speaking, there is always a homogeneous AA|21:03:39|: Do you think is permitted to bring a easel to cultural slant. fair to make copies? AA|20:51:18|: At the end everything circles around the sales AA|21:03:50|: like in a museum? and the promotion of the artist’s work. JS|21:03:57|: I am pretty sure that some body has done it JS|20:52:14|: The question is…the decedents want to before, somebody from the the performance participate at fair? tribe. 120 - 121

JS|21:11:16|: It looks like you address a host of issues AA|21:20:10|: Zero, null? JLC|21:11:20|: There is little talk regarding the exhibitions, JS|21:20:13|: hahaha that can wait for another occasion, it does not JLC|21:20:21|: I think it is insignificant happen immediately JS|21:20:21|: When you talk about benefits to the city, do JLC|21:11:39|: When we come around to it you mean regarding tourism, or international AA|21:12:02|: Going back to the question, George, have you presence? asked your gallerist why he likes your work? JLC|21:20:22|: “in art terms” JLC|21:12:24|: (That’s a good one) AA|21:20:27|: No, I mean regarding citizens, the public, art- JS|21:12:41|: : ists, the gallerists, businessmen, etc.. I haven’t asked him JS|21:20:36|: I do think has an influence on people. JS|21:12:47|: We met in Mexico… JLC|21:20:38|: It is a very small and poor event, it is just AA|21:12:48|: I suppose you’ve heard him talk about your other furniture or tractor fair, its mostly work promotional. JS|21:13:12|: I met him when I showed two pieces in group AA|21:20:40|: So what happens with people in general, exhibition at Art&IDea gallery people that are not used to go openings JS|21:13:28|: I think he understands what I am doing JLC|21:20:51|: I think it can make them curious JS|21:13:40|: I blame on his art expertise JS|21:20:55|: It could be the aim of some artists. AA|21:13:50|: Perhaps even his good taste JLC|21:21:01|: For example, my sister doesn’t ever go to JS|21:13:57|: We are more friends than anything an opening, but, I think she has gone to 3 JS|21:14:03|: He knows about art MACO editions JS|21:14:15|: hahahaha AA|21:21:08|: So does my family, they even got exited. AA|21:14:20|: Now I understand completely AA|21:21:29|: I think it is more of a neutral space JLC|21:14:31|: What is he saying about your work? AA|21:21:38|: Here receptions are full of artists JLC|21:14:40|: Surely he repeats some adjectives JS|21:21:57|: My family never goes to an opening, even less JLC|21:14:53|: Which are they? to an art fair. JS|21:14:55|: At first I think he was drawn to my work out AA|21:22:09|: But I think in MACO you can meet people of bewilderment outside of the art circle AA|21:14:57|: Love at first sight. JLC|21:22:42|: Yes, even in La Lagunilla. (Sunday’s flea JS|21:15:07|: it could be market) JS|21:15:51|: It weird to talk about that, because I can not AA|21:22:55|: Lately it’s been looking like a vernissage answer for him AA|21:22:57|: hahaha AA|21:15:53|: You should make yourselves a drink, you look JS|21:23:20|: Or maybe it’s a perception error, it depends on crestfallen the size of art’s little circle JLC|21:16:08|: Just let caffeine rush pass JLC|21:23:49|: Buying LP’s and movies, things that did know JCL|21:16:17|: So what does he said about your work? interested other people. JS|21:16:29|: There is no way out of that question. JLC|21:24:02|: There are no free drinks anymore! AA|21:16:30|: Next! JS|21:24:14|: Sometimes the party is good. JCL|21:17:21|: In what way does he talk about your work? AA|21:24:23|: Well, you didn’t look too sober to me at the JS|21:17:38|: That question is just like asking your girl- Jumex Party friend, do you love me? JS|21:24:24|: I do not see any future in that fair. JLC|21:18:06|: What words does your girlfriend use so that JS|21:24:31|: This conversation is reaching a dead end you believe that she loves you? JS|21:24:56|: let me take a sip. JS|21:18:30|: My gallerist talks about what I am aim for, AA|21:25:10|: I am drinking a tequila they gave me at the what I am interested in and the about the art fair, a tequila infused by hybiscus flower, process of the work. disgusting! How they come up with these JS|21:18:44|: That is what he talks about ideas AA|21:18:53|: lets move on. JLC|21:19:10|: Next! AA|20:21:22|: Does MACO bring any benefits to the city? José Luis Cortés-Santander. |21:19:11| JLC : Nope Record (Action of running six followed laps around a block as fast as I can), 2007. AA|21:19:52|: Not even in art terms? Digital video. 7 minutes, 24 seconds. Courtesy of the artist. 122 - 123

JS|21:25:23|: Alex, How do you like being an artist in AA|21:33:13|: I think we all start in a nook AA|21:43:03|: You and your texts JS|21:47:09|: Such an artwork! Mexico? JS|21:33:17|: And I found that as a great virtue AA|21:43:28|: Show them AA|21:47:24|: TRES BIEN!! JS|21:25:44|: Or would you rather somewhere else? AA|21:33:19|: (heidy) JLC|21:43:34|: So what then? JS|21:47:45|: José Luis is gone AA|21:26:04|: I like to live in D.F. JLC|21:33:23|: Where are those emoticons? AA|21:43:41|: Ootttsss JLC|21:48:03|: I’m here JLC|21:26:14|: Tequila galore! JLC|21:33:25|: Share the trick JLC|21:44:34|: No way, it sucks JS|21:48:03|: I’m listening AA|21:26:25|: I enjoy being an artist AA|21:33:34|: No. That’s my nook (finger) JS|21:44:47|: Pure cheapness JS|21:48:57|: Hahahahaha AA|21:26:45|: Then the 2 come together JLC|21:33:41|: hahha AA|21:44:48|: S.O.S.a JLC|21:49:06|: (think) (think) (think) (think) (think) AA|21:26:59|: Being in D.F. has its advantages JS|21:34:02|: (beer) AA|21:45:03|: So what about the text AA|21:49:58|: Well I got to go to another meeting. JS|21:27:12|: In what way? AA|21:34:09|: I think that’s a great virtue on your work (ohh JS|21:45:23|: Which text? AA|21:50:03|: It was my pleasure AA|21:27:25|: There is advantages everywhere now we’re flattering each other) AA|21:45:26|: “We can send the following text:” JS|21:27:34|: What are those in D.F.? JS|21:34:31|: No, it’s yours, no! it’s yours JS|21:45:38|: JLC: In order to respect the spontaneity and anarchy of a Skype conversation, this JS|21:28:17|: regarding your work JS|21:34:53|: hahaha JS|21:45:50|: Alex: text has not been copyedited. AA|21:28:29|: I think my work makes reference to materials AA|21:34:59|: I’m over it JS|21:45:55|: JLC: and objects with which I have lived. JS|21:35:21|: That thing I found as a virtue JS|21:46:01|: Yorch: www.proyectoatlasjorgesosa.blogspot.com AA|21:28:33|: I can get some of them here JS|21:35:32|: The “inaccessible” JS|21:46:10|: Alex: WWW.JOSELUISCORTES.COM AA|21:28:49|: I can see them in the everyday life JS|21:35:39|: Later was transformed JS|21:46:24|: And so on JS|21:28:56|: Is it economics? JS|21:35:40|: Turned into this I’m talking you now AA|21:47:02|: Magnifique!! JS|21:29:00|: Or some other reasons come into play? AA|21:35:48|: uugh, this tequila sucks AA|21:29:03|: It is not a matter of having access to them, it JS|21:35:51|: Do you think your work is emotive dude? is a matter of doing what you can do with the JS|21:35:54|: Intuitive? things you have. AA|21:36:15|: I think is more intuitive than emotive AA|21:29:05|: In terms of production, there are things which AA|21:36:27|: And yours, darling? simply are more accessible here than in other JS|21:36:39|: (beer) places AA|21:37:01|: RR (romance reason) JS|21:29:11|: How do you chose the materials? Sometimes JLC|21:37:26|: hahaha I think that your work could all come from “a JS|21:37:37|: hahahaha single place” JLC|21:38:38|: I think it’s very emotive AA|21:29:18|: From a single store? JLC|21:38:39|: His artwork, I mean JS|21:29:22|: no, no AA|21:38:56|: Who are you talking about? AA|21:29:43|: Pass me the address!! JS|21:39:01|: hahaha JS|21:30:36|: Home Depot Tlatilco JLC|21:39:10|: hahahaha JS|21:30:46|: no no JLC|21:39:11|: Let’s define emotive-ness JS|21:31:21|: (dance) AA|21:39:25|: Look me into the eye when you guys talk to AA|21:31:29|: So, where from? me, JLC|21:31:40|: (pi) JS|21:39:37|: You see? AA|21:31:55|: Which place? JS|21:39:47|: Emotive! JS|21:32:02|: It’s as if everything came from the same AA|21:39:50|: It’s the “jamaica” (hybicus) water memory, or a single experience JS|21:40:22|: Is it real that you can read better in English JS|21:32:08|: And every artwork was an exploration than in Spanish? through every spot or corner of a totality AA|21:40:48|: Out loud, for sure JS|21:32:10|: For example, I perceive José Luis’ work as JS|21:41:08|: Hahahaha unrooted AA|21:41:24|: it’s nothing but the truth JS|21:32:20|: Not in the wrong sense, I mean JS|21:41:27|: Ooh my, what a fucking chat AA|21:32:23|: Many of them refer to a small corner, a kind AA|21:41:40|: Hey, they’re going to close Felina bar soon of nook JS|21:41:45|: I’m here JS|21:32:26|: But as a different quality AA|21:41:59|: And me there AA|21:32:26|: I think that every time I visit that nook I start JLC|21:42:18|: Hold on finding out some other spots JS|21:42:36|: Maybe we can send the following text to JS|21:33:03|: That’s what I mean Peeping Tom |21:33:12| |21:42:45| JS : When I saw your artwork for the first time I AA : I think we have enough text Jorge Sosa. El Crucero, 2008. Ink on cotton paper. 45.7 x 59.7 cm. thought I wasn’t getting it at all AA|21:42:52|: Ooouhhh Courtesy of David Risley Gallery, Copenhagen. 124 - 125 José Dávila (1974, Guadalajara - MX) / Artist, represented by Traversía Cuatro (Es), Studio Dabbeni (CH), Renwick Gallery (US) and OMR (MX) / Co-Founder of Oficina para Proyectos de Arte (OPA) / Based in Guadalajara

Space after Space, 2007. Wood, neon lights and plastic plafonds. Variable dimensions. Installation view: Borgovico 33, Lake Como, Italy. Courtesy of the artist. 126 - 127

NYC, 2001 Crushed off-set print, 90 x 300 cms. Galería Enrique Guerrero, México D.F.

from top to bottom Chinese Whispers, 2005. Lambda print. Diptych: 45 x 65 cm each. Courtesy of the artist. Giant Beetle, 2009. Wood and enamel paint. Variable dimensions. Courtesy of the artist and Travesía Cuatro, Madrid.

Un-productive Machine, 2002. Polystyrene. Variables dimensions. Installation view: Puerto Rico Biennial 2002. Courtesy of the artist.

NYC, 2001. Crushed offset print. 90 x 300 cm. Courtesy of the artist and Galería Enrique Guerrero, Mexico City. 128 - 129 José León Cerrillo (1976, San Luis Potosí - MX) / Artist, represented by Proyectos Monclova (MX) / Based in Mexico City

By Mercedes Nasta de la Parra On José León Cerrillo

Every other couple of years, a man of unique extravagance straightens out the nostalgia of the Mexican art cosmos. When around the creature of discerning eyes, one can’t help the magnetic arousal of his presence. An offbeat creator, a social lubricator and provocateur, José León Cerrillo is a young and curious man of extraordinary humor, and solid, towering talent. The Mexico City based artist was born in San Luis Potosí, Mexico, in 1976. He earned his BFA from New York’s School of Visual Arts in 1998 and his MFA from Columbia University in 2003. His recent work is the oblivion of soft pleasing sculptures and graphics. In Hotel Eden (2009), modular steel structures invaded the space of Proyectos Monclova’s gallery. With the installation, he made reference to neo-concrete poetry and modernism, visual and spatial concepts, as well as rhythm, which form the piece. There are several aspects of De Stijl and Russian constructivism in his work, in both the formal resolutions and in the relationships of these movements to graphic design. His angles approach to spatiality is an elegant paradox, one in which color embodies thought and form stirs clever syntaxes. He affronts his influences with a very particular understanding of perception, hypothesis and time, creating playful channels. A breezy French exuberance with hints of folk and vitreous power swims around this man and his work, refreshing his constructive poetic landscape with quickened determination. His intense keenness fuels his dark, almost cryptic charm. The artist was recently invited by Hèrmes to make an intervention in a tree outside a Mexico City store. He built a playful rectangular prism that travelled from the outside into the center of the store. The use of a prism trespassing rooms was also seen early this year during Circa Labs in San Juan, Puerto Rico. On his manners, language, colors and intense spatial intelligence, one can only suspect a particular concoction between the corners of his upbringing, and an aesthetic catharsis during some fractal-related collective evolution while in paradise. No doubt the bold and daring José León Cer- rillo will become a condescending mouth-watering classic

View of José León Cerrillo's exhibition, Hotel Eden, Hotel Eden at Proyectos Monclova, Mexico City. September 2009. among the militia. 130 - 131 José Noé Suro (1970, Guadalajara - MX) / Director of Cerámica Suro in Guadalajara / Contemporary Art Collector / Based in Guadalajara

By Cynthia Gutiérrez Cerámica contemporánea Suro

Cynthia Gutiérrez: How did Cerámica Suro begin? Tell us about an experience in the making of an artwork. José Noé Suro: My father, along with one of my brothers, Just today we were working on several pieces for John Isaacs, founded Cerámica Suro in 1951 as a factory that produced and the oven broke down and every item was ruined—not decorative handcrafted ceramics in the traditional style man- only his work but everything that was inside [the oven]. ufactured in Tlaquepaque, Jalisco. With ceramics you never know what is going to happen. Every time you put a piece in the oven, it is like flipping a At what point did your interest in contemporary art coin—you never know on which side it will land. develop, and how is it that you decided to start a new line of work in the factory that involves artists? What has been the most difficult project you have realized? My interest in contemporary art and collecting started I can’t think of one that has been particularly difficult. I because my brother, Luis Miguel, was an artist and began to would probably have to say that, due to their magnitude, work on his own projects in the factory. With time, artists, Jorge Pardo’s works have been the most challenging. Another friends of ours, started to come to the workshop with an complicated project, because of the large quantity of pieces interest in developing pieces using the techniques used in the [involved], and the complexity, was Marcel Dzama’s diora- factory. Little by little, in a very organic and natural way, the mas. There were some dioramas that had 250 pieces that had number of artists and people of the art world involved with to be modeled, molded, painted and assembled. Cerámica Suro increased. Thus, we took advantage of the potential that the factory offered to generate art projects, and How do the everyday dynamics of traditional ceramic pro- opened a new line of production in the workshop, which was duction influence the artists’ projects, and do these two very different from what we had been doing in the factory. lines of approach converge at any point? They do come together at times. Many artists use the same Who was the first artist to work on a project in your materials, colors and oven temperatures that we usually use workshop? in the factory to produce commercial ceramic items. I think The first was Luis Miguel, who developed the idea of working that, for some artists, the fact that all the pieces are produced on art pieces in the factory. I don’t remember who was after to the same standard can be attractive. Of course, if an artist my brother… I think it may have been Marco Arce or Jorge needs to have a special temperature or different material, we Pardo. Probably Daniel Guzmán, but I am not really sure. find a way to achieve this.

What is the main reason artists from different places are How is the artistic panorama of the locality affected by interested in working at your workshop? What is unique what is generated in Cerámica Suro? about Cerámica Suro? I think that the main way in which the factory impacts the I think that it is the possibility of having a factory at your locality is the interaction between the visiting artists and disposal to execute specific projects. Also, we think that the the local art community. We also support the production of identity of the factory shouldn’t limit the artists to develop- exhibitions and works by local artists. ing their projects with the same material or techniques used in the factory. To explain this another way: there are talavera WWW.CERAMICASURO.COM factories in Puebla where artists are invited to make ceramics that look like those typically produced in those factories. This is not something we are interested in. On the contrary, we like that the artist makes a piece that belongs to the artist, and that you can tell it is the artist’s work without considering where it was made. 132 - 133 Kurimanzutto Gallery / Founded in 1999 / Mexico City / Directors: Monica Manzutto and Jose Kuri / Represented artists: Abraham Cruzvillegas, Allora y Calzadilla, Apichatpong Weerasethankul, Carlos Amorales, Damián Ortega, Daniel Guzmán, Dr. Lakra, Eduardo Abaroa, Fernando Ortega, Gabriel Kuri, Gabriel Orozco, Jimmie Durham, Jonathan Hernández, Miguel Calderón, Minerva Cuevas, Monika Sosnowska, Rirkrit Tiravanija, Sofía Táboas

By Magnolia De La Garza A very short introduction to Kurimanzutto

The 1990s were witness in Mexico to the appearance of a Althamer; as well as the gallery’s collaboration with institu- new generation of artists embroiled in neo-conceptual prac- tions, like the Foksal Gallery in Warsaw. In the summer of tices, and who did not fit into so-called official art institu- 2010, the Kurimanzutto, will, for the first time, work with tions and discourses. These artists, along with independent a foreign curator to realize a collective show at the gallery. curators, created their own spaces of visibility, as well as artistic platforms for the exchange of ideas like the Inter- WWW.KURIMANZUTTO.COM top Left national Forum of Contemporary Art Theory (FITAC) in Damián Ortega. Módulo de construcción con tortillas, 1998. Digital print. 50.8 x 61 cm. Edition: 4/5 and 2 AP. Courtesy of the artist and Kurimanzutto, Mexico City. Guadalajara, or the magazine Curare. This convergence of different initiatives and interests contributed to the global- bottom Left Gabriel Orozco. Psycho Tree, 2006. Tempera and burnished gold leaf on cedar. 66.6 x 66.6 cm. Courtesy of the artist and Kurimanzutto, Mexico City. ization of Mexican art. Inside this context, in 1999, Monica Manzutto and José Kuri Below opened a gallery that was outlined from its beginnings, not Daniel Guzmán. New York Groove, 2004. Still from 3 minute video. Courtesy of the artist and Kurimanzutto, Mexico City. only as a commercial space, but also as a promotional and exchange space for artists. The gallery did not have a space for permanent exhibitions, so they had to look for spaces appropriate to the exhibitions that allowed them to define the gallery for their projects rather than for a building. Economía de Mercado (Market Economy) was the first show organized by Kurimanzutto. It took place in August 1999, at the Mercado Medellín in the Roma neighborhood. There, Dr. Lakra, Eduardo Abaroa, Fernando Ortega, Gabriel Kuri, Gabriel Orozco, Minerva Cuevas, Rirkrit Tiravanija, Sofía Táboas, presented their works within the different areas of the market, adapting to the specific aspects of each location. Other exhibitions followed in spaces such as restaurants, bars, parking lots, trucks, and galleries in Mexico and abroad, as well as art fairs. In 2008, nine years after the first exhibition, Kurimanzutto opened a space and stopped being a “nomadic gallery.” The architect of the project was Alberto Kalach, whom they had worked together with during the construction of the Vas- concelos Library. The first show at their new space was a dialogue between the artists that for nine years had worked with the gallery. To open a permanent space for exhibitions has been a part of the evolution of the gallery’s trajectory, which was enriched with the work of foreign artists as Monika Sosnowska, Thomas Hirschhorn, Allora and Calzadillas and Pawel 134 - 135 La Vitrina Exhibition Space / Founded in 2009 / Guadalajara (MX) / Director: Virginia Jáuregui M. / Exhibited Artists (selection): Liam Gillick, Jonathan Hernández, Marco Rountree and Rodolfo Díaz Cervantes, Edgar Cobián, Rubén Méndez, Cynthia Gutiérrez, José Dávila www.lavitrina.org

Clockwise from left Liam Gillick. Gran Centro de Conferencias, 2008. Black and grey vinyl text. Variable dimensions. © Nathalia Pérez.

Jonathan Hernández. Los Socios, 2009. Clothes and shoes from the partners, newspaper and paper boxes. Variable dimensions. © Omar Chuil.

Edgar Cobián. Díaz de Campo, 2009. Plaster figures, black and red acrylic painting, MDF base. Variable dimensions. © Omar Chuil. 136 - 137 LABOR Gallery / Founded in 2009 / Mexico City / Director: Pamela Echeverría / Represented artists: Erick Beltrán, Étienne Chambaud, Santiago Cucullu, Irene Kopelman, Teresa Margolles, Pedro Reyes, Jorge Satorre, Pablo Vargas Lugo, Héctor Zamora

By Magnolia de la Garza Interview with Pamela Echeverría

LABOR is a gallery that opened in the Roma neighborhood in them, and in the end we are talking about a global industry, November 2009, opening a new space, not only for exhibiting and I say industry in the fullest sense of the word. This is an contemporary art, but for thinking about it. industry and we all are fed by it.

Magnolia de la Garza: Why LABOR? How do you fill that void? Pamela Echeverría: Because I am interested in the mean- I believe that it is important to energize the scene. Although ings and interconnections the word can have in various lan- in the last few years there have been projects that brought guages. In Spanish, it is the work you have ahead of you, people to Mexico, and now SOMA1 has recently opened, like opening a gallery in Mexico City where the art scene is and in the past was La Panadería,2 there isn’t a real dissemi- portrayed as still having voids to fill. nation of what is happening in Mexico. I feel that that “con- Thinking that there is still much left to do, I liked the idea of frontational” dialogue with artists, gallery owners, or people contributing with a space that wouldn’t necessarily fill a void, working in an institution is always enriching. I think that but that could continue to add drops into the glass. in Mexico we don’t feel watched, there is nobody reflect- Furthermore, when I was a girl and my grandmother would ing on these exhibits. It is important to create a memory, to look after me and didn’t want me to bother her, she would use periodic criticism as a memory. When Olivier Debroise tell me to go to my room to perform my labor. In Chile, and Cuauhtémoc Medina wrote The Age of Discrepancies, the labor is the work that girls do, like embroidering, knitting, exhibit and the catalogue became the official history, the sole that kind of delicate work that is performed with the utmost reference in those years. Beyond whether the content is good attention and care, because it will come out wrong if it isn’t. or bad, the problem is that it is the only one. That there are I was also interested in the connotation it has in English in no references in the catalogue catches my attention. relation to work, with that Marxist touch that, to me, seems I find it important, in terms of history and memory, for criti- pertinent in the historical time we live in. cism to exist as a periodic practice. People associate it with the labor of giving birth, which I originally didn’t think about, or ignored. Although every You talk of promoting criticism, how? time we inaugurate a show in the gallery I do remember that I have a space in the gallery, which I want to open in the meaning of labor. summer as a residence for writers. The idea of this residence Besides, I didn’t want the gallery to carry my name, it seemed is to have a person writing about the exhibits happening too narcissistic. I believe that the work we do at the gallery is around the city. At this moment I am working on creating a group effort and not just an effort on my part. the proper mechanisms to get the project started and with- draw myself as a gallery owner, in order to avoid a conflict You speak of the voids in the local scene. of interests with my colleagues. That is why I want to form Mexico is in need of more galleries, more collectors, more a committee that can function as the support and backbone of everything. However, I believe an interesting scene has of the program, leaving the gallery as the writer’s place of been successfully created. Where I find there is a complete residence only. void is in criticism, we have almost no one making history in Mexico, as far as what happens in institutions, in galleries. This is something that doesn’t properly activate the machinery from the start, because there is no one publishing, creating texts that can travel and be shown in other countries. Not all people can travel and see the exhibitions here, so there is Héctor Zamora. Sciame di Dirigibili (Airship Swarm), 2009. Inflatable airship. no way for people in other parts of the world to hear about Variable dimensions. Courtesy of LABOR, Mexico City. 138 - 139

Apart from the idea of creating this residence, the gallery producing complete exhibits that have a solid body that can is presenting parallel, non-commercial projects that are have its satellites. These last ones work better in terms of the not tied to your exhibits, where does the need for this arise? market because they are more accessible, but I don’t believe I don’t know if I see it as a need, it is more an expression of that makes a difference. I want the exhibits presented in the the interests of all of us working here. In a way, a gallery is gallery to be unforgettable and transform into an experience. the reflection or the condensation of the gallerist’s taste, and I don’t want to impose myself, for the same reason that I These projects you seek to present, do they have the don’t want to use my name for the gallery. For me it is react- dimensions of Pedro Reyes’s exhibit? ing as you would in your own home, only opening the door I don’t think that Pedro’s exhibit should set a norm for what for more people. It is also taking the space into account, you is to come. I don’t believe that the object should be big or the would never do a Hypnotic Show3 at your house one night, production costly for interesting pieces to come of it. you put it together at the gallery because it is a place that is more attuned to that, a place understood as one in which I didn’t mean dimensions as far as physical size, but in things happen. As far as the projections go, these are movies the sense of the artist’s work. What are the artists you are that we who work here watch at home, here we invite who- interested in working with like? ever wants to come and hold a bigger projection. These are They are all super nerds. I am interested in working with also projects of people that are close to us. artists who are amazingly talented, discreet, as in elegant, not flashy, not the last ones to leave the party, that aren’t rock There is also a presence of projects that are complimentary stars, even though there occasionally may be one.

Jorge Satorre. Piaxtla indiciaria. La intención divina, 2009. Mixed media. Variable dimensions. Courtesy of LABOR, Mexico City. to the exhibit, such as Étienne Chambaud’s performance I am interested in artists that have the capacity to be in front or the showings of Baby Marx and the readings of Marx’s of thousands of people and explain what they do and where texts during Pedro Reyes’s exhibit. How do these work? they are heading, are impeccable in their work, can hold a I believe it is part of the same thing. The reading group on debate with anybody, are ambitious, and have an ego the size Marx in relation to Pedro Reyes’s exhibit, Baby Marx, comes of the world. to mind. It was open to anybody interested in reading Marx These personalities interest me, and then each one of them who would want to come and join us. It was something that has a different content, a deep research into what they do we just wanted to do; we simply invited more people to make and an understanding of how the world works, to later create the dialogue richer. interconnections between it and their work. The things they discover, what they share with me, their work methods, the How did people react to these events being held by a gallery? how of their discoveries, are the inspiration for the project to People interested in the program are excited about it and in come. I declare myself an addict to the work of the artists I a way, it works out perfectly since these events converge with represent. my own amusement. These are things I am interested in and I feel it is important to know and study them. Do they influence you in some way? They inspire me, charge me with energy and fill my head What types of artistic projects are you looking to promote? with ideas. For example, Pedro Reyes’s exhibit was not something people were expecting to see in a gallery, due to both its There is in your conception of the gallery a notion of dimension and its production. sharing. I am interested in presenting projects that are museum Absolutely. In the gallery’s mandate I wrote that what is quality. I want to generate and produce projects that truly important to me is to work with artists that aren’t passive in show the work of an artist. Let’s think of Baby Marx, Pedro their capacity as citizens, regardless of where they live. Reyes’s exhibit, where you had a film set and puppets; you could see that the production was carried out with a great Now that you mention the gallery’s mandate, are you con- amount of detail. If you think of the pieces that weren’t in scious of the fact that not many galleries have one, or at that display, like the watercolor of the isometric of the set, least one that is visible? In general, they show the gallery’s Marx’s head, or the library cart with the red books, and you history, its origin, but there isn’t a statement, at least not a gather together those pieces and exhibit them, you come public one. to an understanding of where the artist’s work is heading, There isn’t a history of the gallery, there is a mission, a labor but it isn’t enough for you to create a connection and know ahead of us and that is what you seek and what you believe what the artist is doing. In that sense, I am interested in in. I wrote the mandate because I wanted to be clear about 140 - 141

1 SOMA is a new art school created by Yoshua Okón and Eduardo Abaroa, what I was going to do, because my professional experience among others. took me to doing it that way. Maybe that was an explanation for my own self. 2 La Panadería was an exhibition and residence space that helped promote a generation of artists in the 1990s. What does LABOR offer to the local context? I think an alternative. LABOR is the result of a process of 3 In December 2010, Raimundas Malasauskas presented his Hypnotic experiencing different fields of action within the art world. Show at LABOR. LABOR opened six months ago. I believe it opened from the very first day with a symbolic capital that was my eleven WWW.LABOR.ORG.MX years as a professional. I began quite young, before finishing college, when I began to work as a librarian in the documentation center of the Museo Tamayo, and gave guided tours. I know the road from the bottom up, but also from the inside out. Then came my stint in Jumex, then in OMR.

Curator of the Carrillo Gil… As well. It has been many years, at least enough, to realize how things are done and to create a balance with what I really wanted to do. I don’t know if the art scene in Mexico City has changed, what I do know is that people perceive the gallery as a place in which important work is being done, that it is an alternative and not a hobby. That took a long time spent in reflection.

What is your part as a gallery? My part is to promote the artists I represent. The gallery has to attend fairs, it has to sell. We are part of a capitalist system and we live through commerce. But also promote and make collecting grow, as well as helping promote platforms for criticism and study. I think it is a joint responsibility, not just the gallery’s. If we don’t help each other, this doesn’t work.

The local scene is very fragmented, you speak of platforms. Yes, it is fragmented, but I think this gets better every day. Creating platforms allows us to put an end to this fragmentation.

Why? The fact that we are now more helps fight the fragmentation, because there is more to compare, things become more interesting, more dynamic, with a more enriching competition, there is more energy, more to talk about, more to share.

Pablo Vargas Lugo. Visión antiderrapante (Efecto Atlántida), 2002. Concrete. 120 m2. Courtesy of LABOR, Mexico City. 142 - 143 Marcela Armas (1976, Durango - MX) / Artist, represented by Arróniz (MX) / Based in Mexico City

By Jessica Berlanga Taylor Marcela Armas: A D ialogue

Jessica Berlanga Taylor: You are one of the few women in There is a tension impossible to contain, that overflows and Mexico to work with technology, with its waste. Based on that I think corresponds to a moment of great impotence the cultural construction of what we understand as “femi- in our country. I like to take the words of a close friend to nine” and “masculine,” what has your experience been, talk about some of my works as acts of potency in moments of confronting materials and themes considered masculine? impotency. Not only our country but the whole world is going Marcela Armas : I have been interested in exploring the dis- through a very deep political, social, economic and emo- cursive possibilities that some technological media can offer, tional crisis which places us on the terrain of constant ten- but a big part of my work does not use very sophisticated sion, often provoked not by collapse itself but by the expecta- technology. Rather it is about the use of technology as a dis- tion of collapse that generates much more uncertainty. This course, on the role that certain technologies have played in is how the world we live in is configured, in terms of what the ideological construction of the space we inhabit and our we hope for the future, and the present, and the past remains relation to it. I am very interested in the significance of waste stuck in a sort of gap. in the midst of this culture of abundance and squandering. On the other hand, there are materials and forms of con- What would be a dream project for you? struction that are considered “masculine,” but that in them- A personal project…to build a small, sustainable home, inte- selves have no gender; as you say, this load corresponds to a grated into its surroundings, using natural or recycled mate- cultural convention about what is feminine and what is mas- rials. A little house that takes advantage of the energy from culine. The discursive potentials, both aesthetic and poetic- the sun and the earth, recycles residual water, uses rainwater; political can be found in all materials and I think that this is a home planned for reintegrating organic waste back into a about how to approach themes or problems; there is an affec- small plot of land. tive load that imprints itself on the work that has to do with the building of feminine perspective. It has been fascinating What do you think are the relations between the human Obstrucción a dos tiempos (Obstruction with two-stroke engine), 2009. Motorcycles, gasoline, plastic container, gas combustion. Variable dimensions. Courtesy of the artist. to find that affection and emotional potency when facing body and the machine? How do you tie this in with your resources valued mostly for their dimensional function. work? Firstly, with people who form part of my close community city has implied a whole outpouring of energy, I sometimes The machine is an idea that has been with us for a long and who are not only artists. I am surrounded by people con- think of the city as a vampire. But it is also true that to How has the collaboration with Gilberto Esparza and time, maybe ever since we began to visualize the body as cerned about the condition of today’s world; artists and theo- come closer to the most hostile of conditions forces you to Ivàn Puig been? What aesthetic and affective experiences a machine of great perfection. Machines exist from the rists, yes, but also musicians, poets, social activists, architects, ask yourself about the origin of problems, or in this case the are set off there? moment in which the imagination projects a desire: to teachers, researchers, public figures. Each work is a complete great city as a phenomenon that is inexplicable to me. Part of We have grown up together and in that sense we share many fly, cross the world, build, communicate, do “impossible” universe and requires processes of very particular research. In my reflections have dealt with the city as a massive concen- ideas and perspectives. Our departure points are very close as things in a world where everything is apparently possible. my case, dialogue with the technique is also very important, tration and center of production, and in that sense it is also regards the valuation of work construction possibilities. And What I think is that we have not managed to understand to understand the possibilities that are always a challenge, important to be critical towards one’s personal artistic prac- in some way we are always close to each other’s processes. the true potential of machines, and my work tries to criti- and for me this technical aspect is determinant to the result- tice because it is also in a center where the possibilities for art Recently we have worked as a collective named TRIODO cally approach a tendency to “impossibilize” what is being ing force of the work. are the greatest. Here you are confronted with a big critical with the aim of not only accompanying our production and exploited by technology. Paradoxically we are so close yet mass where everything occurs and everything can potentially reflection processes but also of creating works together, and so far from understanding the true potential of technology. What does the metropolis imply for you? What happens occur. And one must not forget that big cities survive at the that has promoted dialogue. Although up until now, we have And we are living as though dazzled by a spectacular con- there, in that space of appearances, energy flows, con- expense of a lot of energy from outside. developed only a few pieces together, it is clear the results dition of technology that leaves little space for well-being, sumption and material, emotional and spiritual waste? will be worthwhile. knowledge and dreams. It has been the central axis of much of my work, maybe How do you visualize your work in the future? because of the strong impact Mexico City has on me; I have It is difficult for me to imagine my work in the future since it What elements in your work express the dreams, desires, With whom and with what do you dialogue when you are been living here for six years, but before I always lived in responds to the circumstances of the context in which it is liv- frustrations and issues of our time? preparing a piece or a project? small provincial cities. From a personal aspect, living in this ing, and these circumstances are always unstable, impermanent. 144 - 145

What do you consider poetic about your work? I find it in social damage, that memory be one of our great inheritances, the archaeological aspect, in the recovery of materials and that the monopolies and trans-nationals that today are pat- objects, the ruins of the past that contain an eternal future, enting vital resources disappear, that scientific research and in the spontaneity of some pieces such as Girotronic, in the technology use the power they have in order to help live in reconnection of sensitive materials. symbiosis and communication with the environment and In the possibility of removing materials from their conven- find a true social answer to the planet’s needs. tional orbit of significance. To extract the affective consti- tution of the objects that lies sleeping within them since WWW.MARCELAARMAS.BLOGSPOT.COM their conception, and that is also found in the relationships we establish that are linked to the memory of the act of interpretation. Experimento sonoro (Sound experiment), 2007. Car horns, switches and batteries. Variable dimensions. Courtesy of the artist.

Could you point out three metaphors about your work? Tension overflowing in the passage of an electric current; the gas residue of a combustion engine structurally supporting a bridge over a super highway; the nation as an injured machine, booming, overflowing.

What about drawing and graphics in your work? The intention to draw is not my point of departure. How- ever, the way in which I work with different elements often flows into graphics where lines and tracings seem to move in space and contain a tension that comes from the very nature of the media that holds the work together. And these results have a direct relation to my way of understanding techniques and procedures, based on very simple approaches.

What are your favorite works in art history or other productions such as music, design, science? I love Alejandro Jodorowsky’s films, particularlyFando y Lis. Roland Topor’s The Savage Planet. Bacon, Lucian Freud, Bataille. Also the work of an inventor/artist little known in Mexico, Arthur Ganson. Recently, research into the life and death of Martin uit den Bogaard from Holland has impressed me a lot. The discovery of the life of Nikola Tesla has made me rethink the history of technology, as well as the life of Guillermo González Camarena who invented the first color television system in Mexico.

What political and aesthetic declarations are you interested in emphasizing? Entropy, squandering and waste as the structural bases of contemporary society, represented by the big city; the systematic withdrawal of society from nature; technological dominance of space, technology at the service of rentable economy over and above the needs of environmental and social ecology.

How do you imagine the future? I wish future generations will reconcile with nature, that we move into a period of restoration from past ecological and 146 - 147 Mariana Munguía Matute (1976, Guadalajara - MX) / Director of Oficina para Proyectos de Arte (OPA) / Independent Art Consultant / Based in Guadalajara

By Peeping Tom Interview

Peeping Tom: Guadalajara made a strong impression on us, its good things and its bad things. The art scene was in a Contemporary art emerged late, there wasn’t a real transi- (maybe this is a naïve and “touristic” question, sorry!)? one of a dynamic and pertinent art scene. Even if it can’t be comfort zone, demanding budgets from the federal govern- tion into the twentieth-century arts in Guadalajara, but it Ha, Ha, Ha! Hmmm… I guess the organic growth you compared in terms of size to the unbeatable Mexico City, ment, establishing an art scene that didn’t have the need to now has very good artists, curators and collectors, as well as mention is also part of a natural evolution and little by little the city proposes a diversity of art venues from museums to exchange ideas with the exterior. So new things, new gen- projects like those I mentioned before. there will be more diversity. Guadalajara’s scene also has dif- alternative spaces and the home to many artists. Since you erations, new art languages always had to get by on their There is also specificity in the art produced here, but then ferent proposals than the ones seen in other cities in Mexico. were born and grew up in Guadalajara, could you describe own at the beginning. This is changing now because the every city in Mexico has its own particularity…their con- As I said, there is collaboration. the evolution of its art scene in the last fifteen years? How artists have set the pace and need to expand. Also, there is texts have a saying in the outcome I would say. did this focus on art start in Guadalajara and how did it less money from the government and new institutions have We feel that Guadalajara is a nest of talented artists develop? Why Guadalajara and not another place? started to emerge like Jumex or PAC (Patronato de Arte What struck us most when we visited you in Guadalajara and professionals and that it deserves more visibility Mariana Munguía Matute: Guadalajara doesn’t have the Contemporáneo, A.C.). In Guadalajara this situation is is the apparent sense of solidarity within the art commu- on an international scale. What does Guadalajara need public cultural infrastructure like Mexico City. We have very even more accentuated because everything is so centralized nity that it harbors. It felt really natural and easy for us to do to expand further? What are the next steps in its few good museums for a city this size. We only have two art in Mexico that you have to reach out or no one will come to navigate from one artist to the next as everyone knows development? schools and they have no interest in updating to new medi- to check you out. each other and is eager to share ideas and contacts. Every- I think it needs a more diverse and stronger art scene: new ums and discourses, so artists that are interested in contem- one we met in Guadalajara seemed to be very proud of this spaces, new galleries, new curators; all the supports that art- porary art have to look elsewhere. But what you do find here Could you explain to us how the art sphere in Guadala- city, extolling the quality of life but also their fellow artists ists need. There have been a lot of changes in the last couple is a good group of art enthusiasts that go beyond Guadala- jara differs from the one in Mexico City and also from and colleagues and the professional opportunities the city of years, but we need more experience, preparation; more jara and even Mexico City, and have created great things. places like Oaxaca, Monterrey and Tijuana? What is its offers. From our visitors’ perspective, it was really refresh- professionals. We need to reach out, since it is clear we can- At the end of the 1980s, we had two strong private collectors specificity? ing (and reassuring!), especially after being a bit disori- not stay here and expect things to happen on an interna- (Mexico City had the Televisa enterprise collection) focused Guadalajara has an important artistic legacy. It is the birth- ented by the competition in Mexico City. Is this feeling of tional scale. on international contemporary art. In part it was due to the place of many of Mexico’s national symbols like mariachi unity we had illusive? If genuine, do you know where this curator Carlos Ashida, who really understood the art of the music, tequila. It has a strong identity with the charro [horse- cohesion is coming from? Could you tell us a bit about your background? You stud- time. Some of the iconic exhibitions in the early 1990s like manship] imagery: it is very eighteenth- and nineteenth- I think your feeling is genuine and it is a natural cause of ied sociology at the Universidad de Guadalajara. How did Acné, Lesa Natura and early shows of Francis Alÿs, Daniel century colonial Mexico. It doesn’t have a strong pre-His- what I explained earlier that if we didn’t do it together noth- you use this education in the different positions of your Guzmán, Eduardo Abaroa, among others, were curated by panic culture. It is a nice city, with a nice climate and people ing would happen. career? Was sociology an important tool for you in under- Ashida and Patrick Charpenel. Also from 1992 to 1998, who are happy here, but more than a striving energetic city, Also in Guadalajara the “bigger” art movement is very tra- standing the art world? there was the first Contemporary Art Fair in Guadalajara it is a placid city, a city that more than having industries, was ditional, most museums are used to showing “traditional” art I was already interested and working in contemporary art that made a first strong connection between the interna- the link from the center of the country to the Northwest. practices and not very contemporary discourses, so in a sense but I wanted to better understand the relationship between tional contemporary art scene and the emerging Mexican This situation is very particular. Monterrey is a new indus- people dedicated to contemporary art are the “others,” the art and society. In Guadalajara, in particular, society is less contemporary art scene. Alongside the fair, the International trial city, Oaxaca has a very rich heritage but linked, very minority. If the official spaces were closed to contemporary used to visiting museum, attending concerts, and sometimes Forum on Contemporary Art Theory was organized which linked, to its pre-Hispanic and colonial past. Tijuana is a rich art, alternative places or projects were created to show it. I encountered a reticence towards art in general, it is viewed also brought contact with international critics and curators. multi-cultural city whose identity has totally to do with its Solidarity is natural as well as essential. We are still a rela- as a commodity, so I focused my studies in this relationship Several generations of artists also introduced themselves border situation (in all senses). tively small force in Guadalajara. The bigger it gets, the more with art. Although I do not do research, sociology has given from the early 1990s, and many organized spaces to show Many Mexican modern artists came from Guadalajara: complex it will become. me a particular focus or tools that have helped me form an their work for the official museum circuit were not inclu- José Clemente Orozco, María Izquierdo, Martín Ramírez, understanding of how the public reacts to exhibitions, to sive of new discourses in art. Projects formed by collectives Chucho Reyes, Lola Álvarez Bravo, Gerardo Murillo “Dr. We were also surprised by the coherence and comple- management skills, to interpreting art. of artists maybe didn’t last long but they did have a strong Atl,” Roberto Montenegro, Rafael Ponce de León, Carlos mentary balances between the different art practices we effect on the city’s medium like NAP, 16-16, Proyecto Zapo- Orozco Romero, Mathias Goeritz, as well as architect Luis encountered in Guadalajara but also amongst the artis- From 2002 to 2004, you were the coordinator of the first pan. So the contemporary art scene in Guadalajara was very Barragán and writers like Juan Rulfo, Agustín Yáñez and tic visions of art professionals (curators, collectors, gal- three conferences of the International Symposium on innovative and self-organized, self-sustained. Mexico City Juan José Arreola, among others. But funny, most of them lery owners…etc.). Is there some sort of “Guadalajara Contemporary Art Theory (SITAC), organized by PAC also had this kind of behavior at the time with projects like had to emigrate one day or another to pursue their careers, art committee” making deliberate decisions on what the (Patronato de Arte Contemporáneo, A.C.) in Mexico Temístocles and La Panadería. In a sense, the fact that Mex- because the provincial situation of Guadalajara segregated it city should showcase or does the scene grow organically? City. You are now a member of PAC’s board of directors. ican culture is a responsibility of the government, it has had from the center of the country. Would you describe Guadalajara as a spiritual family Could you describe the beginnings of this now established 148 - 149 rendez-vous? What is the mission of PAC and your role in over time to multimedia tools to better express their ideas. It cerns in these two activities from your perspective? fred Pernice, Carlos Bunga and an exhibition of Dora García this institution? broadens the understanding of today’s art in a sense. When I talked to a museum director friend in Mexico City, made in collaboration with Musac, and we start next year PAC is a non-profit association that was founded in 2000 by we talked about how in Mexico everything ends up being a with Superflex. Saâdane Afif was already invited before I a group of professionals in the art scene: curators, museum After several years in Mexico City, you decided to move soap-opera. In the public sphere museums have little funding stepped in, but I was glad I had the opportunity to work with directors, etc., that saw the need to establish a fund to help back to Guadalajara? Why? and bureaucracy problems but at least its existence is guar- him because I am a huge fan of his work, and the project he support independent contemporary art projects, while help- It was a personal decision that had to do with getting anteed, unlike in the private sphere. The problem in Mexico did here was great. As I explained, the program will be sug- ing promote it at the same time. I started working in 2001 married. is that the government has been cutting its cultural budget gested and voted on by the board in general. as coordinator of PAC, and one of its most important mis- dramatically over the years, but they haven’t taken into con- sions was to organize the SITAC conferences. Everyone on Between 2007 and 2008, you were the director of La Planta, sideration that culture depends on them as an important Since 2009, you have been the VIP Relations Manager for PAC’s board had experience and some had even directed the an art center in Guadalajara sponsored by Omnilife. How foundation and this has made society not very participative Mexico for Art Basel and Art Basel Miami Beach. Could FITAC (International Forum on Contemporary Art Theory) different is OPA the art center you are now directing in because they knew it was the government’s responsibility. you tell us the place and importance of the Mexican mar- in Guadalajara (the conferences organized along with the art Guadalajara, from La Planta? Why did it close? Now with the cuts in budget, they should be working on ket in this international context? fair) and knew how important the conferences had been for This experience was totally different from any I have had. alternate solutions like tax reductions and other incentives Since the year 2000, there has been an important collec- everyone, so they decided to continue them but now in Mex- It is unusual in Mexico to have a private initiative like the for the private sector to participate more actively. tor that has had a strong impact on the international sec- ico City. There is an advisory committee among PAC that one Omnilife had: to open a high-end art space in Guadala- tor, which is Eugenio López through its Jumex Collection. is in charge of choosing a director for each conference, that jara, to have a space and an institution that could organize or What are your responsibilities as the new director of OPA? I think it is not that the Mexican market is important, but will develop the theme and contents of the SITAC—with bring shows normally not seen in this city for lack of infra- Are you the only person to select curators and artists? that the Mexican art scene became an important player after the approval of this committee—and I would organize the structure, funding and initiative. It was incredible to develop The invitation came with a proposal of a new way of orga- the 1990s in the international scene. Gabriel Orozco became logistics of it all. It was a great experience organizing them. it from the beginning. Unfortunately, the business under- nizing OPA. A board was established with seven members: an influential artist, and after him came a very strong gen- The first year we did it in a theatre with a 350-seat capac- went significant changes and decided to close the project the three founders, two local collectors that have always eration of Mexican artists that made an affect on the world. ity, and one week before, the tickets were sold out. No one after only nine months. These are things you cannot control. supported OPA, an external collaborator and the director, This was reflected by many shows about art made in Mexico could believe the reaction of the public towards the SITAC, all have a voice and vote in defining the program of exhibi- (from PS1/Kunstwerke’s Mexico City: An Exchange Rate of people from all over Mexico coming to attend the three-day In your career, you seem to undertake quite an atypical tions, as well as overseeing the development of the project Bodies and Values, to Witte de With’s Coartadas/Alibis). So, conference. Our record attendance was one thousand people path, wearing several hats: press and marketing director, in general. it was not only collectors so engaged as Eugenio López, but during a Marina Abramovic talk at the fourth conference. curator, director of several art centers and initiatives, pro- The director of OPA is the person responsible for the day- also artists, curators and galleries. The first three conferences were also very long, full-day ses- ducer and coordinator. You seem to constantly oscillate to-day work, not only in producing the exhibitions and sions. Over time, we have been adapting the format to try to between artistic and commercial projects but also between working with the artists, but in establishing new programs: You are a founding member of Aires de Occidente, a group respond to the need to encourage discussion among the pub- curatorial and production positions. Were these differ- new activities, attracting audiences, making it known, and of organizing art conferences and workshops in Guadalajara. lic and to have the conferences more dynamic. As a member ent angles strategic moves to reach a specific goal, or did course, fundraising is always a fundamental aspect. What is the function of this forum? of the board of PAC you vote on the projects that will be you instinctually follow opportunities that were offered There were several friends in the art world of Guadalajara supported, as well as discuss how to improve or develop our to you? Is this versatility a valuable asset in your current What are the challenges and your ambitions for OPA who shared with me the need to organize an educational programs like SITAC as well as new ideas. position at OPA? today? program that could broaden the perspective of local art stu- Actually, I have never been interested in the commercial OPA has a great history, it has had a great program, and it dents and persons wanting to better understand contempo- Could you describe your experience at Laboratorio Arte aspect of contemporary art, but yes, in what contemporary has made itself well known in the international scene. rary art. So we started organizing artist lectures and are in Alameda, a space dedicated to multimedia projects and art can tell us about the time and place we are living. I guess It was always characterized by being a place where artists the process of expanding the program to other activities. electronic practices in Mexico City? What did you retain it is my background in sociology that excites this. And on the could produce new work, experiment with production. I from this exercise? work aspect I have always loved to work on making projects think this essence should always remain. The challenge Laboratorio Arte Alameda was very important for me possible: symposia, art spaces, exhibitions. In this sense the today as I see it is to secure funds to make the productions because it was the first time I directed an art space. It also promoting part comes as part of any job: try to reach out and more ambitious, to have a team that can help OPA reach out gave me good experience knowing how to work in the public make a difference through the understanding of contem- to the local, regional and national community. It not only has sphere. It was a great challenge because there were two very porary art. So, in a sense, I always find a coherent trend of to do with money resources but also to have a more estab- important projects that were already committed to and we what I have done, although I have never planned anything, lished structure without “institutionalizing” OPA. It should needed an important effort in raising money as well as other I instinctually followed the opportunities offered. I think in always keep the spirit of being a flexible, independent and management problems to resolve. The curator of the space OPA, experience gathered from different jobs would apply: experimental place, but with more resources to outreach its was Priamo Lozada, who had been curator of the space since not only the logistical or administrative skills, but the more programs and make stronger ties with the community. it had been founded by the government and had given it its theoretical skills, the production skills, the promotion skills, focus on electronic art but with a broad view. He knew the it is an all-in-one kind of position for now. I will try to orga- Could you tell us about your upcoming program? What is international contemporary art scene very well, and he knew nize a team soon to diversify the tasks and increase our reach. your curatorial path for this place? Why did you choose to that having a show by Julio Le Parc wasn’t traditional mul- invite the French artist Saâdane Afif for your first exhibi- timedia art. I liked his approach very much because it was You have experienced positions in both private and public tion at OPA? based more on understanding how artists had reached out institutions in Mexico. Could you tell us the different con- The program for 2010 is: Saâdane Afif, John Isaacs, Man- 150 - 151 Michel Blancsubé (1958, Vanves - FR) / Head of The Registration Department Fundación/Colección Jumex / Independent Curator / Based in Mexico City

By Peeping Tom Interview

Peeping Tom: To begin, could you tell us a little bit about doing so. I say almost because there were collectors in Mex- differences between European and Mexican approaches to remember Eugenio López noticing my sense of panic and your professional background? How does a French man ico at that time—the likes of Patrick Charpenel, who lives in collecting contemporary art. telling me to take my time. Step by step, I learned to recog- based in Marseilles end up working in the registration and Guadalajara, has been collecting since the end of the 1980s. Do you believe that collecting art only as a gesture of snob- nize each piece and then tried to keep up with the collec- curatorial department of the largest contemporary art col- But we are now in 2010 and Eugenio López Alonso is still bery is more typical in America than in Europe? Do you tion’s growth. In 2001, La Colección Jumex had around 750 lection in Latin America? the only one who runs a private space, at this scale, dedicated know Witold Gombrowicz’s nice’s definition of a snob? “A pieces, and now it has more than 2,300. I try to maintain Michel Blancsubé: I was a carpenter in the south of France exclusively to contemporary art and open to the public all non-famous person who knows a famous person.” a comprehensive idea of the collection, but regularly redis- in the 1980s, working forty-five hours per week. In this year. The activities of Fundación/Colección Jumex include cover artworks that had become hidden in my memory. The period, I spent most of my Time Out in caves. Funny no? A a curatorial and educational program, a sponsorship and From my understanding, your position at Jumex has relationship I have with this treasure plays at different levels, big change happened in 1991 when I started to work for the grants program and everything else that public institutions evolved significantly yet organically over the last ten years. mentally, topographically and symbolically. I have been sur- Museums of Marseilles. I was in the communication depart- usually run. Many museums in Mexico City receive funds How did you move from the collection’s registration and rounded by art for almost twenty years, and I feel that art- ment at first, and from 1996 I was a curatorial assistant at the from the foundation. It is obvious that the engagement of acquisitions department to a curatorial role? works are like body snatchers—some of them are allies and Marseilles’ Museum of Contemporary Art. Eugenio López and the Grupo Jumex completely changed To clarify, I am not in charge of the acquisitions for La Col- others remain aliens. La Colección Jumex opened its gallery in Ecatepec on the Mexican contemporary art landscape, and it is undeni- ección Jumex. When the owner hired me in 2001, it was The management of loans is exhausting, but also funny. I March 3rd 2001. I came in February 2001 to install the sec- able that the nature and visibility of the Mexican visual art to take care of the registration department of his collection feel like the agent of a huge group of actors, some of whom ond edition of Carambole with Pendulum by Gabriel Orozco, scene has evolved significantly since Eugenio López became and I’m still the head of this area. In 2006, Eugenio López are more successful than others. When we invite curators to and Patricia Martín, who was the director and curator of La a collector. Alonso thought that, since I was supposed to be the one who “read” the collection there are some artworks that constantly Colección Jumex at that time, offered me a job. I accepted knows his collection thoroughly, he would like to see which reappear in the selections. Taking care of these works is like and started as the registrar of La Colección Jumex on Sep- From your experience working both in France (in a curato- curatorial project I could produce. Skieur au fond d’un puits spending time with someone you get to know better and bet- tember 3rd 2001, exactly six months after it opened. The rial position at MAC, a contemporary art museum in Mar- was the first exhibition I curated for Jumex. It opened in ter each day, but who never fails to surprise you. inaugural exhibition was still on view, which means that I seilles) and in Mexico, could you highlight some of the dif- September 2006 and closed at the end of April 2007. Since have worked on all the exhibitions that La Colección Jumex/ ferences between the European and Mexican approaches then, I have curated four other exhibitions for Fundación/ While you are mostly dealing with internationally Fundación Jumex has produced since the beginning, in Mex- to collecting contemporary art? Colección Jumex, and four for other institutions. acclaimed artists, you are also very aware of the younger, ico and abroad. The main difference between France and Mexico concerns When you spend all year monitoring the works that enter less established artists, as your exhibition El Norte del Sur the art that is collected rather than how it is collected. I do a collection there is a natural game that makes you imag- (Galeria Baró Cruz São Paulo, Brazil, 2008) proved. How La Colección Jumex played a determinant role in the not really know about the French approach to collecting; ine combinations between artworks. I’m not sure that this would you describe the Mexican contemporary art scene Mexican art market. Could you explain how it changed the but you could say that the way in which Mr. Pinault shows is curating, but since curating is far from an exact sci- today? Have you noticed an evolution in art practice over landscape of Mexican art, and what the relevance of such a his collection in public spaces in Venice is somewhat simi- ence I assume that what I have organized until now looks the last fifteen years? collection is in the current context? lar to Jumex’s approach. In general, I have the feeling that like curating. Let’s say that I moved from registration to Actually, I have been in Mexico for less than ten years, but What Eugenio López Alonso (owner of La Colección the French collecting practice is still an intimate and private a curatorial role because of Eugenio López’s open mind. I would say that there are more Mexican artists now than Jumex and creator of Fundación Jumex) did was fill a void. activity. There are some in-between places, like La Fabrique There’s a cliché that, in America, people will give you a ever. The success of certain key figures, and their local and The Mexican institutions—until the Universidad Nacional in Marseilles, the private space that Josée and Marc Gensol- chance when they think you have the ability, regardless of international prominence, has certainly stimulated a lot of Autónoma de México (UNAM) decided to develop a con- len run. You can visit La Fabrique on appointments; it is your background or training. That is true of my experi- activity. When I was still living in Marseilles, I only knew temporary art collection—never secured a contemporary art not open to the general public. There is also the Fondation ence at Jumex. about Gabriel Orozco and Carlos Amorales, which makes patrimony. A kind of precursor to La Colección Jumex was Cartier. Look at Antoine de Galbert; if I’m not wrong, until sense since they both decided to leave Mexico and started what El Tigre, the owner of Grupo Televisa, did. A director Voyage dans ma tête he never showed his own collection at When visiting the collection with you, we were stunned by to show their work abroad, particularly in Europe. Certain of Fonds Régional d’Art Contemporain (FRAC) I met when La Maison Rouge. I remember him saying that he was not your almost encyclopedic knowledge and your undeniable curators in Mexico are doing serious investigations into the I started to work for Jumex told me that the merger was ready to present his collection to the public, as it was part of passion for the artworks, particularly since the collection emerging art scene, and they are more qualified than I am to much more of an event for galleries than for others. With- his private life. contains more than 2,000 pieces. Could you describe your talk about new artists. out being so radical or polemically sarcastic, let’s say that the I imagine that Mexican collectors are much more aware of relationship with the Jumex collection? arrival of Eugenio López Alonso was very good news for what is produced in South America and North America than When I arrived at Jumex in 2001, more than eighty percent A number of Mexican artists are politically engaged Mexican galleries. When he decided to build a strong inter- in Europe, and this, I guess, works in reverse for European of the collection was made up of artworks produced by art- through their practice. Do they help you understand the national contemporary art collection, he was almost alone in collectors. But, in truth, I don’t think there are significant ists I didn’t know. That was exciting, but also a bit scary. I paradoxes and the complexities of Mexican society? 152 - 153

Not really. Most politically oriented Mexican art looks like during the construction, and in a way it is suggested by the an illustration of political facts known by everyone. I have artworks themselves. In the Fernando Ortega catalogue, you wrote that the my opinion about what you call the paradoxes and complexi- Let’s say that each exhibition is an autonomous episode of ambition of contemporary art is no longer to answer ques- ties of Mexican society, but I didn’t learn a lot about this a single narration. Even if I avoid falling into references, I tions but to generate new ones. Could you explain further? from Mexican art. The information comes from the street have to recognize that certain themes recur in the exhibi- The exact quotation, taken from The Stagecoach Fly, the text much more than from the contemporary art scene. tions I curate. After the opening of Vivir por fuera de la casa I wrote for MUCA’s 2008 Ortega exhibition catalogue, is: de uno at the Museo Amparo in Puebla—the exhibition by “In March 2003 I was asking him (Fernando Ortega) about When referring to Mexican artists, you talk about créa- Carlos Amorales, which he invited me to curate—someone the ones (mosquitoes) trapped in a photographic slide—he teurs décomplexés. Could you tell us more about this Mexi- pointed out that we had done what I did three years ago in has to use glass slides because of the heat of hours of con- can peculiarity? the same city, and had opened the windows in order to allow tinuous projection: what was the ideal size when they were In his diary, dated 1861, Désiré Charnay, a Frenchman who the artworks to receive natural light. It is true that I reuse projected onto a wall? The size, he said, depended on how took the first photographs of pyramids in Mexico, referred techniques that I like, but I do not think that it is the same to the exhibition curator got along with mosquitoes; elegant to this Mexican trait, which entails feeling insignificant in work with 200 artworks as it is to work with three or eleven. footwork, but not exactly a straight answer—when it comes the presence of strangers. It can be traced back to the war Anyway, I agree, Stanley Kubrick was an exceptional film to things you loathe, you might want to shrink them right between Mexico and the USA, which happened from 1846 director. down or else, out of pure bravado, blow them up out of all until 1848. Mexico lost Texas, California and New Mexico. proportion. We’ve gotten the message by now that, in gen- The American army entered Mexico again in 1915. You can Do you manage to preserve your personal vision while eral, contemporary art isn’t about answering the questions get a precise idea of such events by reading A People’s History offering your services to a private collector? How much that pop up from time to time; on the contrary, it multiplies of the United States: 1492–Present by Howard Zinn. Mexico curatorial freedom do you have at Jumex? them the way that other guy did with the loaves and fishes, dissimulates this feeling of inferiority behind an excessive I have never felt censorship regarding my curatorial choices. and anyway, art has always boasted that it can keep the ques- and constant nationalistic discourse. “Como México solo hay To curate at Jumex is pure luxury. Ask Dan Cameron, Doug- tions coming.” uno” (there’s only one like Mexico) or “Como México no hay las Fogle, Patricia Martín, Jessica Morgan, Adriano Pedrosa, Now that we are finished with quotations—thank god!—I dos” (there are no two places like Mexico) could have been Alma Ruiz, Guillermo Santamarina or Philippe Vergne if remember that, when I was still working at the Museum of said by Lichtenstein too, no? you think I’m joking. Contemporary Art in Marseilles, I received a flyer with a There may also be a feeling in Mexico that it exists outside of quote from David Lynch printed in black on green. It stated mainstream developments. To apply such a way of thinking Text is an important part of your curatorial exercise and that he doesn’t understand why people want art to mean to art, we might consider that Mexico got over such hang- you seem like an insatiable reader. Your reference points something when most personal lives mean nothing. I hung it ups in the 1990s. Nothing significant, in terms of art, had include anthropology, literature, philosophy, cinematog- in my office, but unfortunately forgot it when I left. been exported from Mexico since the muralists. I do think raphy and music, so why did you choose contemporary art Remember Frank Zappa and, believe me, The Torture Never that Gabriel Orozco and Eugenio López are the people who over another discipline? Is text a starting point for your Stops. Don’t trust the answers! broke with the feeling of impossibility about being from projects? Do you deliberately subscribe to ideas outside of Mexico and also part of the artistic mainstream. The Mexi- art history? From observing your accessible, relaxed and unpreten- can art scene found a way to invert its relationship with the I have no academic training in art history, but I haven’t tious attitude towards the Jumex employees (from the United States, and use its geographical proximity to America stopped reading since I was five or six years old. My imagi- security guards to the highest people in the hierarchy) and to its advantage. In 2005, a French curator in charge of an nation is much more open when I read than when an artist your behavior during the opening of Les enfants terribles, important institution told me that the French art scene had imposes on me the results of his imaginative process. The where you were more interested in discussing the work become much more peripheral than the Mexican one. commitment you can have to a writer leaves you with more than squatting at the bar, you seem far from the stereotype freedom than you get standing in front of an artwork. So of a French curator in Mexico, and you seem outside of the How do you develop your curatorial program? Do you why am I in the contemporary art ghetto? Maybe because art world’s social protocol. Am I correct? consider each exhibition an episode of one narration, or no one captures exactly and completely what contemporary Do you have personal relations with artists and gallerists, do you see each exhibition as autonomous? How do you or visual art is about, and this leaves a lot of space for the or are you driven only by art? decide a theme? likes of me, for whom confusion represents the best epitaph. Since I ignore the image you have of what a French curator I cannot imagine an exhibition out of a context. An exhibi- Actually, when I was in the communication department of in Mexico is like, what should I say? To close with something tion space in a certain environment at a certain time is taking the Museums of Marseilles, I was working on the commu- positive: yes, I have personal relationships with artists and place in a context. I generally don’t choose a theme and then nications of thirteen different museums [whose subject mat- gallerists, and even some friendships here and there! look for artworks to sustain or feed it. In fact, the starting ters ranged] from archaeology to contemporary art. The big point for Les enfants terribles, which was on view at Jumex shock came in 1993, when the Cantini Museum received WWW.LACOLECCIONJUMEX.ORG from November 2009 until March 2010, was a kind of com- the Gordon Matta-Clark retrospective, curated by Corinne ment about this. As I said before, by looking at the collection Diserens. This made me understand that there are huge Ugo Rondinone. Love Invents Us, 1999. Installation: view of the Fundación/ all year, I am seduced by artworks and imagine funny games fields to explore in art. I didn’t choose contemporary art. I’m Colección Jumex rooftop. Neon sign, acrylic glass, translucent foil, steel. between them. The theme or the discourse comes after or afraid contemporary art caught me. 310 x 720 cm. Courtesy of Fundación/Colección Jumex. 154 - 155 Miguel Calderón (1971, Mexico City - MX) / Artist, represented by Kurimanzutto (MX) / Filmmaker / Based in Mexico City

By Daniela Pérez Something brief and personal about “la gran caca”

Ten years have passed since I first met Miguel Calderón. forget our first encounter, as soon as I took a seat in the living ing personality; he was not only able to get me to perform, process includes many limitless boundaries that are not only room, that small and agile xoloitzcuintle dog was immedi- among many other things, in the middle of a street where I media related but that are subject to his own personal “diges- I had begun my first job “in the field,” as editor of the art ately comfortable sitting on my lap. To avoid any evidence of pretended to crash my car so we could shoot a video repre- tion” and tempo. That is to say, there are many of his projects section for what was then a new online and printed maga- my slight anxiousness about her hairlessness, I began caress- senting the Red Sea. He regularly persuades people to do the that will not be seen publicly but they involve a very particu- zine called Zugo. Miguel was the first artist on our list to be ing her warm body and right after, her irritated skin with oddest things, he even convinced my father to dress up as an lar moment in what later, maybe never or possibly someday, interviewed and we were quite nervous standing at the door pimples, started bursting, I guess it had to do with her being Arab and dance—my father does not like to dance—for the may evolve into something else. to his house/studio ringing his doorbell. I specifically recall excessively hot. Miguel must have noticed I treated La Chori Camellito video in 2004, in a scene which was then featured the greeting: not only did he open the door for us but imme- nicely, soon, we became good friends. on MTV-Latin America. My father was seen in many places, Today, while I attempt to participate within artistic circles as diately upon doing so his two dogs, La Chori and La Sebe, maybe even a bit famous! It was perhaps that exchange of a “young curator,” I must say that after having worked at a began jumping all over the place with excitement. La Chori However, it wasn’t until a couple of years later, when I began very personal “information” which allowed me to understand number of institutions and places on different projects, those was old, grumpy, but great; it was a very sad and traumatic working for him as a producer and assistant that I actually the relevance behind recurrences within Miguel’s artistic two years that I was close to Miguel, sharing the processes day when she passed away. I have to say though, I will never began to get to know him quite well. He has such a convinc- searches: people (like his father for instance), places (such as of conceptualizing and producing his work, were definitely Acapulco) and stories (like those from his childhood which some of the most fruitful for me in terms of practical and involved falcons). professional learning. As romantic or nostalgic as it might sound, I do hope that one day, maybe another ten years from At first, it seemed that our lifestyles would contrast way too now, Miguel will allow me or someone else to dig more much to engage in a professional relationship. When I would deeply into his yet unseen negatives and unread scripts for arrive at his place early in the mornings, the last guests at his his films. Maybe then, others will have a glimpse at his won- endless parties were just leaving. Miguel kept surprising me derfully complex, creative and confused mind. more and more everyday, no matter how early/late his night/ day ended or began he would be on time and ready for work, punctual as a morning bird. And more than that, I started to realize early on that we would grow to understand each other well because we were both somewhat interested in obsessive working patterns (I won’t even elaborate on what Mexico vs. Brazil, 2004, or Bestseller, 2009, among other projects meant in those terms).

During those days, I used to accompany Miguel regularly to a variety of places like the Mercado de Sonora, Tepito and La Marquesa, and his father’s warehouse/office where apparently Miguel had lived for several months when he was a teenager. That place was a revelation to me. Whenever we needed to find something, let’s say an old object, an idea or Bad Route, 1998. Oil on canvas. 140.3 x 210.8 cm. Courtesy of the artist and Kurimanzutto, Mexico City. a project, we would wander through that dark dungeon and excavate things from Miguel’s past—unresolved ideas or Left page concepts which would later evolve into works, all of which Los pasos del enemigo, 2006. Video transferred to DVD. 5 minutes 39 seconds. Courtesy of the artist and Kurimanzutto, Mexico City. explained so much about his own artistic endeavors and processes even though many had never been seen. Today, it is quite obvious to me that Miguel Calderón’s production 156 - 157 Miguel Monroy (1975, Mexico City - MX) / Artist, represented by Galería de Arte Mexicano (MX) and Perugi Artecontemporanea (IT) / Based in Mexico City

By Ruth Estévez A Dialogue between Ruth Estévez and Miguel Monroy Healthy Effort, 2001. 4 Polaroids. 10.7 x 8.8 cm each. Courtesy of the artist.

Ruth Estévez: Miguel, let’s start by talking a bit about some- I imagine that, when you live in a city like Mexico City, In a certain way I see you doing something similar in your reality, I juxtapose works that don’t present a pamphlet- thing we both like very much and have repeatedly studied in many of your questions could be applied to a variety of projects. Obviously, your curatorial projects focus on histo- like opposition to power. Instead, they present a message different types of work. I am talking about reductio ad absur- situations—be these social, political, economic… It is a ries that have to do with a crude Mexican reality. At the that seems to address something else, and so mislead the dum, an Aristotelian term that serves to present a hypothesis complex machinery that moves very quickly. When Fran- same time, though, these come together in micro-histories viewer. In this distraction, in this confusion of ideas, you that is taken to an extreme and so eventually annuls itself. To cis Alÿs deals with this metropolis, he invokes the “paradox that serve to distract the viewers and bring them to new ask the viewer to think and ponder the complex reality. apply such a theory consciously seems like a treacherous way of praxis,”1 which plays at annulling itself in spite of keep- approaches to the topic under discussion. In your work the idea of opposition that leads nowhere also to cancel out knowledge. I think you constantly apply this in ing the city afloat and which has also influenced a whole seems crucial, and your results are quite explicit. The form your working methodology, even though I don’t think it is generation of Mexican artists. Well, I do try to get away from unanimous declarations, in which you reformulate objects through actions gives for necessarily the cancellation of the proposal or the unveiling I think that there is a reality from which these situations do but I always want to take a position. I think that, in Mex- a status quo situation that is generated after the refusal of a of truth that motivates you. Or am I wrong? not look absurd. They are absurd if one tries to read them in ico, as in the rest of the world, we always present every- simple dialogue. Despite this refusal, it does flow…. Miguel Monroy: Reductio ad absurdum is indeed a funda- terms of efficiency. But there is a logic that operates precisely thing in binary oppositions—power versus resistance, or Yes, I think that in this sense I have been pretty close to a mental mechanism in my work, and it is probably a remnant where things happen and one has to understand them. As a resistance versus power, for instance. Power believes itself group of artists that came from the Temístocles artist-run of the “couple” of semesters that I was enrolled in mathemat- citizen I suppose that what you see in my work has to do with to be resistance, and resistance believes itself to be power- space. ics at university. But I don’t think I am necessarily interested an interpretation as well as an acceptance of these mechanisms ful. The Zócalo (main plaza) in the center of the city epito- in total self-cancellation. It is rather a method that shows as starting points. I do try to apply them to odd artifacts that mizes this mentality. Circumscribed by the Metropolitan Such as? that something exists because it would seem absurd if it don’t normally appear in this context. What’s more, they are Cathedral and the National Palace, it has been for ages the Well, more than being an influence in my work, they gave didn’t. The method shows that the meaning of the objects objects that have to do with notions of, for example, protec- platform that symbolized national dissatisfaction. Here, me a type of work ethics. I am talking about artists like Luis around us has to do with their function. In a world where tion, automatization and organization or efficiency. there is a daily ritual of allegiance to the flag while pass- Felipe Ortega or Marco Arce, who taught me to really work. everything has a purpose (as absurd as the use of some ersby carry along indifferently. This only calls the atten- objects might be), I wonder what happens if one would pro- Within artistic practice, objects get a new meaning beyond tion of tourists. It is an overt fallacy that resembles a hori- An ethics, do you mean some sort of compromise? pose other systems in which the same object tries to set itself the regular social convention or normative use associ- zontal yet contingent wall. I learned a different way of structuring work from each of free from a specifically assigned function. ated with them. But I do think that the contamination You did address this question of opposites in One Foot Apart, them. With Luis Felipe Ortega, I have had in-depth conver- is mutual. For instance, the idea of the anomalous object the exhibition that we did together in Brazil.2 In the UK sations about my projects. I learned how to develop the work But how do you go about detouring an archetype … that points to a modus vivendi and that has become a hall- House of Commons, one foot (thirty centimeters) plus the in a conscious way, by revising every element and its relation It is like that children’s game where you repeat a word mark of Mexican contemporary art speaks to this. Artists length of two swords, is the distance that separates the oppo- to meaning. When I got to know the work of Marco Arce, I that has a specific meaning—something simple, maybe did not just photograph the “weirdness” of Mexico for sition party from the ruling party. As parliamentary struc- found a good counterpoint to this form of reading. The work like “boat” or “horse.” You mention it so many times that, its immediate export, but actually created new objects by ture, however, it is a space of dialogue, even if it is only on can generate different connections within itself. I watched at the end of the exercise, the word that comes out sounds de-codifying the object’s daily use, tweaking its physical a symbolic level. It is not as much about opposites as it is him work and I started to develop different themes in my like a totally new, abstract and arbitrary one, separated from appearance—all of this, again, illustrates the paradoxes of about dialogue. own work such as the idea of noise that provokes silence or its meaning. I am not at all an expert in math (I was only praxis. Your projects, by contrast, relate directly to actions, by bringing the sensation of mobility to a character that does enrolled for two semesters!), but I know that in the history of more so than to objects in themselves. I think of works like It is about introducing a way of thinking politics that is not not move. the reductio ad absurdum, the universe in which you carry out Versus or Walking Machine. founded in resistance or confrontation. I like to work with I have also been following Edgar Orlaineta and Fernando the experiment never fails, even if you take up the opposite In these works I suggest an action that destroys or opposes discursive methodologies that, when put together, have a Ortega. Even though I don’t feel a direct connection, I do of the hypothesis that you want to prove. That forces you to its beginning. They are a series of forces that, from the get- trickster effect. The figure of the trickster appears in the think that, from them, I have learned more about the devel- change your original perception. go, allude to advancing, but they also pull in the other direc- American-Indian myths of el coyote or la zarigüeya. opment of ideas. I am interested in Edgar’s obsession for the tion and so generate something unclear and confusing. In If I’m not mistaken, in Mexico it is the tlacuache. history of industrial design, and I very much like his three- Yes, when something that seems absurd has potential. my work I want to bring these modes of operation to other dimensional works and how he resolves them through this Exactly, but it is not so much the opposite reading as it is objects that work in a context in which these mechanisms are Yes, it is a character that disrupts the structures of power historical knowledge. In the case of Fernando, I am attracted about changing that starting point that makes us consider not so palpable. I think that this is the only way available to with a trick. In this way, you mislead the audience. Work- to the opposition of scale that you see in some of his works. when we evaluate something as useful and when we discard it. escape this constricted space in which I live. ing from a critical perspective and in tune with Mexican I am impressed by the hummingbird project,3 in which you 158 - 159

1 Francis Alÿs. Paradox of Praxis (Paradoja de la Práctica), 2005. Video, were also involved. I enjoy seeing a constant in their work, five minutes, excerpt from a nine-hour performance documentation. In it, but I also like the different directions in which they take Alÿs pulls a cube of ice through Mexico City until the ice is totally melted. these constants. 2 One Foot Apart. Galería Leme, São Paulo, 2009. In these works, there is an element of disruption that intends to dislocate reality, even though it also gives us 3 Fernando Ortega. Levitación asistida, 2008. Site-specific installation at clues as to how to return to reality. the Museo de Arte Carrillo Gil (Mexico City). A crane weighing several tons, That reminds me of Slavoj Zizek’s comments on Alien. He placed outside of the museum, served as a support for a hummingbird’s suggests that the blood of the monster disrupts a particular feeding tray. One could only watch the feeder up close from inside the museum. reality. That simple viscous liquid has the capacity to dissolve the walls and floors of the spaceship, which is also the crew’s 4 Reference taken from Slavoj Zizek. “Fotografía, documento, realidad” in: universe.4 I am also interested in pointing to the cracks in Letra Internacional, no. 85, winter 2004. reality and even in making them more evident. But I like to do that in a more cold and calculated way, using the ele- Translated from Spanish by Sarah Demeuse. ments in themselves, almost without human presence. After all, the less visible the tlacuache’s trail, the more effectively it intrudes into reality. WWW.MIGUELMONROY.NET

Right page Walking Machine, 2008. Video still. Courtesy of the artist.

Below Whisper, 2004. Pistol grip megaphones. Variable dimensions. Courtesy of Artist Pension Trust. 160 - 161 Omar Gámez (1975, Mexico City - MX) / Photographer / Academic Director of Academia de Artes Visuales (AAVI) in Mexico City / Based in Mexico City

WWW.OMARGAMEZ.COM WWW.AAVI.NET

Yesterday Sacrifice, Today History, 2009. Digital C-Print. 210 x 160 cm. Courtesy of the artist. 162 - 163 Oficina para Proyectos de Arte (OPA) Art Center / Founded in 2002 / Guadalajara (MX) / Director: Mariana Munguía Matute / Founders: Fernando Palomar, José Dávila And Gonzalo Lebrija / Presented artists (selection): Stefan Brüggemann, Anri Sala, Nic Hess, Eduardo Sarabia and Eric Wesley, Mario García Torres, Raimundas Malašauskas, Cuauhtémoc Medina, Jonathan Monk, Minerva Cuevas, Olafur Eliasson, Thomas Hirschhorn, Pierre Huyghe, On Kawara, Steve McQueen, Jorge Méndez Blake, Fernando Ortega, Melanie Smith, Emanuel Tovar, Jim Lambie, Mónica Espinosa and Henri Michaux, Pipilotti Rist, Monika Sos- nowska, Pablo Vargas Lugo, Rodney Graham, Francis Alÿs, Guillermo Santamarina, Atelier Van Lieshout

By Peeping Tom Interview with Fernando Palomar, Gonzalo Lebrija and José Dávila

Each of them responded individually to our questions by e-mail FP: Because we’d had our shared office/studio on that floor without knowing the responses of the other two. for quite some time, and one day we realized that we could use the rest of the floor, which was abandoned. And yes, it Peeping Tom: When, how and why was OPA founded? In was a deliberate decision. what cultural context did the three of you get together and decide to open an art space? The rest of the building houses bankers mainly. How Gonzalo Lebrija: We were sharing the studio, which did they react to the installation of an art space in their became our office at OPA, and it was the only space on the building? 23rd floor. We invite colleagues to the abandoned space to GL: It does house bankers, but mainly lawyers. Some of make art shows. them hate it and hate us; but we hate them for being the Fernando Palomar: It was founded in 2002, and we man- bureaucrats that they are. Some people think that it gives life aged to do it by getting the help of some of our friends, ask- to the building, as many people come to visit. ing some of them for money and some for space. We did it FP: I would say with some curiosity, but with no particular because we wanted to have contemporary art in Guadalajara. interest. It took a pretty long time until they really noticed It took place in the middle of a kind of cultural desert, where what was going on. I think most of them haven’t yet realized some rare, interesting and potentially generating things were what it’s all about. happening, like the production and collection of important international works of contemporary art. The three of you are highly active and solicited artists. How involved are you in OPA, and how involved are you Why did you choose to open a non-profit space rather with the nomination of the director and the definition of than, for example, a commercial gallery? the program? GL: We are artists, and we prefer the production and pro- GL: We ran it for seven years, but now we have a new motion of artwork to the commercialization of it. director so we can dedicate ourselves to our personal work FP: Because we were not at all interested in making money. full time. We chose Mariana Munguía Matute because we Rather, we wanted to show, to our friends and fellow citi- thought she would be the best for the job. zens, things that we liked and that we thought would inter- FP: We three now nominate the director. We do the program est them. of exhibitions, together with the director and the board, and Gonzalo Lebrija. Mata palomas, 2002. C-Print. 60 x 90 cm. we sometimes contact the artists, or we take care of them Courtesy Galerie Laurent Godin, Paris. Why did you set your eyes on this unconventional loca- when they are in town. Before, we did everything ourselves tion, a 600 square-meter office space on the 23rd floor of and we were much more involved. a modern building? Also, this space offers a breathtaking 360-degree view of the city of Guadalajara. Was it a delib- OPA not only presents exhibitions but also offers a forum erate decision to include Guadalajara in the art display? for artists and curators in the form of workshops and lec- GL: The space was empty for a long time, and we decided to tures. Could you tell us about the importance of an art take advantage of it. center as a social meeting place in a city like Guadalajara? 164 - 165

GL: Yes it is very important, as Guadalajara is the second OPA has helped Guadalajara to become a prominent cul- and ceramicist José Noé Suro, aside from being collectors, largest city in Mexico. It has seven million people, and there tural spot in Mexico. Did you expect this recognition? also own a night club. On top of this, José Noe Suro is in is a very big gap in terms of cultural institutions. No funds GL: No, none of us did. charge of an art center, Larva. Mariana Munguia Matute, and no interest. JD: No we didn’t. OPA, in my opinion, has exceeded its director of OPA, also works for Art Basel. Is schizophre- FP: As a social meeting place I would say it is not too impor- original ambitions, which were very personal and local. nia a disease specific to Guadalajara? tant, since it functions as such for a very limited number of FP: Of course not. We never thought this would work out so GL: I see this as a way of avoiding getting bored. I must say people. Few people are interested in art, particularly con- well. We were just doing it for fun. that time in Guadalajara becomes very extended. I am sure temporary art. For the general public of a city like this, OPA you experienced this when you came. does not exist at all. How is OPA financed? JD: This is a difficult question to answer, as I’m not sure GL: Our biggest sponsor is the Jumex Collection, and we whether to call it schizophrenia, boredom or just plain fear. Why did you decide to show international artists and not have received donations from tequila companies. We ask art- I have recently opened a taco street stand, so I guess I am in only local ones? ists to donate a multiple to the OPA box, which has become the “club.” Perhaps the simple reason is: because it’s possible. GL: We decided to bring international artists because it was a good way for collectors to buy twenty works for the price Is the notion that an artist can only do art a little patronizing necessary [to do so]. No museums or institutions do it. of one. and narrow-minded? I don’t really know… FP: Because local artists have always been shown locally, JD: First and foremost by the willingness of people who FP: (Laughs) I don’t think so. and we wanted to bring things that people would otherwise help make it a reality. Artists, fabricators, people who have never be able to see here. worked in different fields for almost nothing—or completely Can you explain the reason for this co-existence of enter- nothing. I believe these people have been the greatest source prising spirit and art sensibility? Is this place intended only for a Guadalajara audience? of “finance.” However, we cannot forget the generous and FP: I can’t. I have to tell you that, for me, this has always GL: This is a place dedicated to anyone who likes art. constant support from the López Rocha family, The Jumex been rather strange. FP: No, it is for whoever happens to be in the city, or those collection, the Televisa Foundation and others, both institu- who are interested, wherever they are. tional and private. We basically tried everything possible in WWW.OPA.COM.MX order to get the space going. OPA has invited internationally renowned artists such FP: It has been financed almost exclusively by private spon- as Anri Sala, Jonathan Monk, Olafur Eliasson, Thomas sors. Some of them are the friends I referred to before. We Hirschhorn, Pierre Huyghe, On Kawara, Steve McQueen, asked for help from the state once, but they gave us little and Jim Lambie, Pipilotti Rist, Rodney Graham, Atelier van asked for a lot, so we never asked again. Now we are starting Lieshout and Francis Alÿs, among others. How did you to get some sponsorship from the local university. manage to get to this level so quickly? GL: I think that all of the artists thought of the space as a Is OPA a source of inspiration in your respective art prac- great challenge. tices? For instance, Gonzalo created Playing High and FP: Through friends that knew the artists or had busi- Avión (2005) by getting bankers from the building to par- nesses with their galleries, and due to the fact that, luckily, ticipate in a paper plane competition staged on the 24th most of them are, although famous, very approachable and floor. Any other examples? nice people. GL: That was before the studio became OPA… OPA has hosted shows by prestigious curators such as Pat- JD: To have a constant 360-degree view of the city from a rick Charpenel, Patricia Martín, Guillermo Santamarina, 24th floor is always a source of inspiration, even if it just Pip Day and artist Mario García Torres. How were cura- makes you go deeper into yourself; but I haven’t used the tors selected? space or the building for a specific work. Working with some GL: These are curators that we have been very close to. They of the people who have come to the space to do something know Guadalajara and OPA very well, so the dialogue sur- has been a great source of inspiration, through the many rounding the exhibitions was very natural. conversations that have happened spontaneously. FP: We are friends with all of them and we wanted to do FP: Yes, the site has been such a source sometimes. For something together, naturally. example, Gonzalo and I once did a work, a photograph José Dávila: I think the process came out of casual discus- called Edificio meado (2004), where you could see how we sions in bars, or any place outside of OPA. It is anchored by had been using the building as a big urinal for years. the friendship between me, Gonzalo and Fernando. There was never any intention to “shape” a program, but to work The majority of people we met in Guadalajara have sev- with people we thought were doing a good job. It was an eral careers. For example, Gonzalo aside from being an instinctive process of selection. artist and co-founder of OPA, is also a bar owner and is launching a brand of cigars. Curator Patrick Charpenel 166 - 167 Orlando Jiménez (1976, Mexico City - MX) / Communicologist / Researcher / Lucha Libre Referee and Producer / Based in Mexico City

By André Pahl Orlando Jiménez, el Defectuoso & la Lucha Libre

André Pahl: Hi Orlando, how are you? And how is life in Well, I’d go to these and other spectacles in the city with the seeing it so much on TV in my later childhood, where I wit- been a rebellious kid, a “contreras.” The triple-A lucha was Mexico City, the DF—the Defectuoso? pretext of going “glued” to my father, who in turn went for nessed the return of lucha libre to Mexican TV in 1989- becoming popular then. In my view it distorted lucha libre Orlando Jiménez: Well, pretty defective, but that is actually work reasons. The lucha libre interest came afterwards and I 1990 and onwards, and where I saw the wrestlers that I most with wrestlers like Payasos or Super Chiva, etc. This is when great if you look at it as a product of a factory from which think it has more to do with movies and, later in the 1990s, admired: Cien Caras, Perro Aguayo, Vampiro Canadiense, I thought the lucha was crap and I much rather preferred you expected a perfect product. Luckily, life is always full with its return to TV. What kept me obsessed for a while was Nitrón, Máscara Año 2000, Sangre Chicana, El Dandy, El going out to whatever party … of unforeseeable and surprising encounters that oppose, for watching movies of luchadores (wrestlers) on TV, movies Satánico, Octagón, Fuerza Guerrera, Los Brazos, and the It wasn’t until college when I started liking, respecting and better or worse (excellent or terrible), our life projects. In whose protagonists were Blue Demon, Tinieblas, Neutrón, lucha of the EMLL (nowadays CMLL) on Televisa and getting interested again in the lucha libre and especially the DF this is much more intense and gets to extremes or Mil Máscaras, Los Tigres del Ring, and especially El Santo, later (1992-1994) the lucha at the Toreo on Channel 13 the cinema of wrestlers and El Santo. This time around I paroxysms that have made the inhabitants of this city seem the most emblematic hero of Mexican lucha libre. with Canek, Los Villanos, el Hijo del Santo, Tigre Cana- appreciated it more with an academic perspective, as you’d like true suicidal cases. Well, actually, that also goes more or Since you ask me about my childhood; I remember seeing diense, Chris Jericho, André El Gigante (your namesake, but expect in the university. So it became my object of study and less for the whole of Mexico. the movie El Santo versus Las Lobas when I was five years a French one). I had seen all of these on TV. a very important activity in my life. It is actually a source of old. It was at my aunt Concha’s with a cousin who was about So, as I was saying, the first time I went to the arena was work and one where I have been able to apply some of my The first time I ever went to a lucha libre (Mexican wres- my age. That house was half-way built, kind of like the entire after this entire overload of the art of Pankration. That coin- research. I now consider myself a researcher of lucha libre, tling match), I went with you! I think it is your greatest neighborhood, Torres de Padierna, in the then somewhat cided with adolescence, and with the fact that I’ve always even though, you know, I don’t only do that. passion in life. Tell me how this evolved. Were you the developed south periphery of the DF in El Ajusco. What Orlando Jimenez with legendary lucha libre wrestler Santo,1999. type of kid that, wearing a wrestling mask, imitated its a crazy memory. I remember it was like being like in a cave, heroes and destroyed the china in your parents’ living I think I was taking a bath in the house of my aunt while room? Looking back would you say that the lucha libre watching a movie of El Enmascarado de Plata on TV. My greatly influenced you as a child and a teenager, and in aunt pronounced that name very solemnly. I remember the what sense? images were kind of blurry, but sometimes pretty clear. Later Yeah. That has actually happened to many. Sorry if my tak- I’d realize that the images are actually like that. You should ing you to the lucha libre was a bad influence on your life. know, André, that a lot of the El Santo movies were harshly (laughs) If I‘m not mistaken, we went to the Arena Coliseo, criticized in their time for good reasons. A lot of the movies or was it the Arena México? Do you remember? were a true amalgam of technical errors that were then seen as the maximum of naïveté. Today they have an unchallenge- We went to both, but the first one was the smaller of the able status of Trash de Luxe. That movie of El Santo against two. It was more intimate. It was not a bad influence at all, Las Lobas is, I think, from around 1980 or 1981. I quite loved it! The first time that I went to the luchas, in 1989 or 1990, I Well, in all honesty, in my early childhood I didn’t know had avidly consumed those movies, both on TV and in spe- much about lucha libre. But it did have a lot to do with cialized magazines, especially one magazine that now has a spectacle and even more with the live spectacles on TV. My second revival and that is still being published, Super Luchas, dad worked at the public TV station, Channel 13. He was and also the legendary Box y Lucha: el mundo del ring, where part of the team of mechanics and specialized in remote I contributed later on. But in any case, that first time was control transmissions. I clearly remember going with him at the Toreo de Cuatro Caminos and it was a shock to see to broadcasts at the Azulgrana stadium, and the games of in real life Pegasus Kid (Chris Benoit), The Killer, Villano the Atlante, much more so than going to luchas. I think I III, Fishman, Canek, Kokina and others. They seemed to be also went to the university stadium at a very young age (like colossuses to me, back then. I felt like my entire being was when I was four) and to the now no longer existing Delta the size of one of their legs or their behinds. Park Baseball field. Actually, as an adolescent I kind of hated lucha libre. After 168 - 169

Do you bring Jade, your girlfriend’s young daughter, to I started organizing this type of events in Mexico with the is very understandable because in many countries lucha libre general, that comes with a great responsibility (it is like when the luchas? 2003 Festival of Lucha Libre “Falls Without Time Limit” and the luchador have become images whose fate is pretty a clan trusts you to represent them). And for this reason I I know that this might look barbarian in countries with men- within the framework of the Festival of Mexico in the His- similar to that of Japanese manga, where an artistic, and in have tried to make sure that all the projects that we’ve par- talities that are different from those in which the existing toric Center. That was after finishing my studies and having this case also sports, expression has become the hallmark for ticipated in are at least somewhat congruent with all of this. mentalities actually enable such a spectacle. In America, the become very involved in the world of film clubs and “alterna- an entire culture. Lucha libre has become a product of the In fact, this prejudice happens as much in Mexico as in US and Mexico, the arenas are packed with children, in Japan tive” projections of film and video. Actually, with my collec- “afterpop,” as they say here. Europe: there are as many people who know lucha libre not so much even though I do think it is a family sport. In tive JSI, we were the first to project on the Zócalo after years. I have developed this proposal mostly in Europe. So since as there are who don’t, and therefore as many people who Europe, what I can tell from the experiences I have had of This was around 1998-1999 and it was a time when a lot of 2004, I have collaborated or worked on my own projects approach it all with great bias or, in the best of cases, with a going as an organizer or referee, I can tell you that Mexican things opened up to proposals. A lot of venues in the city and that export lucha libre as a live art form, mostly in festivals, lack of understanding. As I said, it is inevitable that nation- lucha libre is becoming a little more a family and child spec- youth projects opened after years of closure. Really, André, if exhibitions and non-lucrative events. I also have a legiti- alism, exoticism and a taste for the sickly sinister emerge tacle instead of a solely hooligans and drunken-men’s event, you saw Mexico in a bad state during your stay, you should mate interest in, and the trust of many luchadores, to create when you present something like this. But the side that although they are part of the audience. It totally depends on have seen the 1980s and part of the 1990s—youth under the what they call “plazas,” which would be sources of work for interests me most is the one of the communicating vessels, the different styles in the world, and each one has its market. influence of Satan and Rock! them and for myself. I have mostly worked on this in Spain, and the one of the “Ur” (a German term) where what grips I have taken Jade a hundreds times to the luchas. It enter- We organized a lot of these projections with the Festival of France and the UK, but in the last two years I have been try- the audience’s attention is a side of a supposed authenticity, tains her a lot. But she is also bored sometimes. She only likes Mexico that used to be called the Festival of the Historic ing to establish partnerships and affiliations with producers something very original and human that is still preserved in to see her favorites: Dragón Rojo Jr., Místico, las luchadoras, Center of Mexico. In 2000, I had suggested a project which and serious people in Europe who could help me achieve the lucha libre. This is of course as true as it isn’t, because Kemonito. She enjoys the mask against mask fights: she saw was a homage to a luchador whom I admire a lot, Black these goals, and who would also reap some benefits. the lucha, like each human being, has been a product of a how El Pantera lost his mask against El Misterioso II at Arena Shadow. Two years went by. I went to France to work as an I tell you all of this because it relates to what you asked me historical recycling of actions and philosophy. This side you México. She suffered a lot in that fight but she also enjoyed assistant teacher of Spanish (imagine that, of Mexican slang) about what comes next. This year I am planning something ask about is interesting to me, but I’d have to give you more it. That is how it goes, André. In the case of fights in Mexico, and I was about to renew that position when, from Mexico, in Switzerland and Germany. Last year we were at Art Basel bibliographical references if it interests you. It almost always kids symbolically see that the good guy does not always win in they gave me the green light to realize my dream festival. in a satellite space called Hot Art Fair. If all goes well this has to do with an identity, a cultural industry, and social and life and that life is intense and implies risks. It gives me a lot of Without hesitating, I returned and started to organize the year, we will have Teutonic partners and some presentations economic as well as communicative phenomena. joy when I see her jumping up and down with enthusiasm and festival with my partners from the collective JSI. JSI had there. For now I only have plans for a presentation in the screaming when her favorites win. I am against seeing lucha originated at the university, first with projecting movies and Festival Pirineos Sur in Spain. That is at the end of July. It’ll Have you ever wrestled yourself? libre as violence. If this were the case I’d only see the violence then with producing videos, festivals, music and some edito- be a small exhibition between Sangre Azteca and El Hijo I have only trained a bit. It is a prerequisite if you want to provoked by an art form, the art of Pankration. rial projects. I also touched base with my research contacts del Fantasma. participate, even as a referee in the ring. As a young boy I and especially with the people with whom I had built up trained, very little, and this was before I officially became You’ve developed an intimate relationship with the wres- the most trust: the inheritors of old legends, living wrestlers, When you travel with the luchadores: how is the experi- a referee. I’ve trained with Blue Panther and El Hijo del tlers, which is exceptional. How did that happen? Wasn’t stars like El Hijo del Santo, Blue Demon Jr., Fray Tormenta, ence for them when they are in countries where the dis- Santo, and more recently with Nitro and Sangre Azteca of it difficult to gain their confidence and to overcome social Mil Máscaras, Lola González. We contacted wrestlers as cipline has no roots? In Mexico it is part of the culture the CMLL. But no, I continue to believe that my place in barriers? Could you find a common language? well as artists. It was precisely a call to “amalgamate” the and people understand it—it serves as a catharsis. When lucha libre is mostly outside of the ring. That relation came about because of my research, my grow- worlds of art and of lucha libre. people don’t know and understand this, isn’t there a dan- I was just envisioning you with lots and lots of muscles. The ing interest and love for this discipline that I have learned to That is how I got to know Carlos Amorales and his work. ger that the experience for the luchadores becomes one of part of more muscle wouldn’t be bad, but even more the part appreciate a lot. They saw this respect, you said it, as some- When I went to invite him to participate in the Festival, being exhibited in a human zoo? of a healthy life with lots of exercise. thing exceptional for an “outsider.” I’ve tried, in a more or in 2002, he lived in the calle Zempoala, a few blocks away Without a doubt I see it as a catharsis. It is necessary that less disinterested way, to search for the knowledge of Pankra- from where I live now, and I had also lived on that street as this happens when you see a real lucha libre spectacle where Besides these projects about lucha libre you are involved in tion—that is how I called it when talking to the men who a kid. So it was a strange thing for me to return to that area the protagonists (the luchadores) and the audience partici- other activities: video, for example. What kind of projects have already died and who were true legends who trusted me: years later. We presented a two-week-long program of exhi- pate. In 2007, when I worked for the department of visual have you most enjoyed until now, and what are your plans? Blue Demon, Cavernario Galindo, Black Shadow and Hura- bitions and films about lucha libre in the Museo del Chopo, arts of the Televisa Foundation that has a photography col- Video, as a medium and message, also fascinates me. And so cán Ramírez. which was the center of the Festival, and in the Salón Cin- lection, I made an exhibition called Catharsis. does research as a discipline and method. I have too many More, when I started my research (around 1997), lucha libre ematográfico Fósforo in San Ildefonso. Moving on to the danger of seeing the wrestlers like in a passions. That is my problem. I try to focus on those activities was not at all a fashionable topic. Quite the opposite: for a long zoo, that would correspond to a somewhat unavoidable sick in particular—I mean, the realization of video and research time it was a dismissed topic, even by those who shouldn’t be Tell me about your upcoming plans and projects with the and exotic side that comes with decontextualizing Mexican without importing context or theme. I have had dilemmas so unappreciative: the social scientists. I studied communica- luchas. lucha libre. But that doesn’t mean that it is a spectacle solely especially with lucha libre, which is something so special to tion sciences in the Department of Political and Social Sci- Well, because of the organization of this Festival that I for Mexican viewers. It also has to do with what I told you dedicate yourself to. For instance, I’ve only been a referee on ences at UNAM and, years after I finished, I defended my told you about, I started to realize that it would be possible earlier: I do, on my part, try to take advantage of a market special occasions in Mexico and abroad, in performances, thesis about El Santo and, in fact, graduated this year. to do something like this outside of Mexico. So I started that we’ve been cultivating for quite a few years (the market international performances, exhibitions, and one champion- to develop a proposal that would allow me to handle this of the lucha libre abroad), but I think the difference here lies ship in the Philippines. I couldn’t dedicate myself fully to this When you started organizing events in the art world entire business of Mexican lucha libre while exploring other in the reasons for, and the convictions with, why we do this. every day of every month because then I couldn’t combine it with the luchadores; what was the beginning and your sides—instead of showing an expected Mexican identity or And precisely the connection that I have, not only with the with other activities. I am very restless and I try to develop my motivation? something similar. This happens often with lucha libre and it luchadores but also with the world of Mexican lucha libre in interests as much as possible. I have also started film clubs. 170 - 171

You collaborated with Demián Flores. What exactly was recycling and even distribution and compilation of material that about? that you can’t even find in the formal or official market. The We did two collaborations. In Essex, in October 2002, we ways in which this becomes a communication of symbols, presented the collaboration as matchmaker and referee in ideologies and aesthetics, and the forms of distribution and the luchas. The other one was a video that is called VS (Ver- creation—in short—that is one of my topics now. sus, 2005), which has done particularly well. It is actually a DVD compilation of collected video clips that was shown at Translated from Spanish by Sarah Demeuse. several festivals and exhibitions. My first official appearance as a lucha libre referee was www.jinetesampleadores.wordpress.com in Essex, in Demián Flores’s artist project called “Arena México.” Gabriela Salgado, who was curator of the Latin American art collection at the University of Essex, had commissioned it. We did two exhibition luchas. I presented a series of films of El Santo and also gave a conference at the university as the character of The Killer Film, an alter ego of mine who is a masked film critic.

When I met you, you also worked in Carlos Amorales’s studio and you did a lot of research on Mexican subcultures, often a source of inspiration for our record label Nuevos Ricos. How come you know so much about weird and hidden places and tendencies? Well, I don’t know. Those so-called subcultures and weird and half-hidden places are kind of a natural thing for me (laughs). Seriously, I don’t want to come over as a prick but I do think that if you want to see it like this, the subcultures, and, bottom line, knowledge, the sensation of discovery, transformation, the occult and, if you will, the underground, they all attract me tremendously. The strangest characters often seem to me to be the sanest people of this world. I like getting to know people. Music and the visual have an immense power over me, they fascinate me.

How do you experience Mexico now, in comparison to when you were a teenager? What is changing? What would you like to investigate now? Mexico has changed a great deal since then. But I guess it has always been like that. It is just that, now, things have kind of changed for the worst. When I was a teenager there weren’t as many and diverse spaces for expression and leisure at hand. But there was something in comparison to nothing. There wasn’t so much insecurity and social control. The street was a more public space of conviviality and respect, and it wasn’t as unsafe as it has become now, hostile towards the pedestrian, the passerby, the honest person. Neverthe- less, this transformation enables research of new phenomena, which have been untouched. Apart from lucha libre, a topic that is of great research interest to me is piracy…… Wow! If you’d understand what that really is! It is incredible seeing so many phenomena around Demián Flores and Orlando Jiménez. VS (versus 06), 2005. Video. piracy: the merchandise, the vendors, the transformations, 1 minute 21 seconds. Courtesy of the artists. 172 - 173 Pablo López Luz (1979, Mexico City - MX) / Artist, represented by Sasha Wolf Gallery (US) and Rose Gallery (US) / Based in Mexico City

Vista aerea de la ciudad de México IV, 2006. Digital ink-jet print. 100 x 100 cm. Courtesy of the artist. 174 - 175 Pablo Sigg (1974, Mexico City - MX) / Artist / Co-Director of Petra / Based in Mexico City

Sid, 2009. Printed stock paper, computer and sound graph. Variable dimensions. Courtesy of the artist. Transmisión, 2009. 11 pierced prints, 9 dot-texts. 54 x 80 cm (each). Courtesy of the artist. 176 - 177 Patricia Martín (1969, Mexico City - MX) / Independent Curator / Former Director of La Colección Jumex (1997-2005) / Founder of AXA’s contemporary art collection in Mexico / Director of Alumnos 47 / Based in Mexico City

By Peeping tom Interview

Peeping tom: Your first professional experience was in lection would reflect one another. After the first year things I had just finished doing the thirty-year review of Lisson, Mexico, and to give lectures and do shows for the collection; film, art direction for advertisements, music videos and began developing quite quickly and naturally: the library, the with artists like Sol LeWitt, Dan Graham, On Kawara, Carl we funded important exhibitions in museums of artists such feature films. What made you switch your career to con- grants, the scholarships, more works, an exhibition program, Andre, among many others, looking at their very early work as Douglas Gordon, Fischli and Weiss, the exhibition When temporary art? and then the museum. I was there conceiving it, collecting, and their development over three decades. Seeing the work Latitudes Become Forms (at the Museo Tamayo); these are Patricia Martín: After five years of working as an art direc- curating and directing. It was a thrilling experience! of this new generation of Mexican artists made me realize only three exhibitions among many others. Young university tor in film productions, in 1994, I travelled to London to do that their work had enough strength to stand on its own, and students, artists, academics, they were all looking for more a postgraduate program in set design at a theatre school; but Your visionary approach substantially contributed to what next to anybody else’s work. knowledge and new opportunities to learn and participate. I found that the program was very basic, with little theo- Jumex rapidly became and still is today, that is, the leading Our vision behind inviting a curator to do a lecture on the retical support, something I was looking for, since I already contemporary art collection in Latin America. Where did Jumex has been one of the leading supporters of Mexi- collection was beyond the show: it went further. Bringing a had plenty of hands-on experience. So, I started looking for your inspiration come from at a time when collecting con- can art by offering grants to artists and backing up public curator to do a show gave us the opportunity to put him in something else to study and I found the program for contemporary art was almost non-existent in Mexico? institutions. How did the idea of a foundation in tandem contact with academics, public institutions, do studio visits temporary art at Manchester University. First, my master’s degree, and then working in a leading gal- with collecting develop? with artists, visit galleries; thus, we used his or her stay in lery in the UK and worldwide, gave me the opportunity to Jumex was never only about collecting: it was very impor- Mexico to maximize their being here in the best interest of In 1998, in your late twenties, if my memory is correct, appreciate the whole context of the art world: artists, cura- tant, for Eugenio and for me, to sponsor and support other many, not just Jumex. We did not keep that person “hidden you became the director of the Jumex collection. How did tors, museums, galleries, biennials, critics, academics and elements of the art landscape. At the time we began there in Ecatepec”: it was completely the opposite, and we gave the idea for a contemporary art collection come about and collectors; the complete gamut of the art scene, and how were very few and only small contemporary collections in that person as much exposure as possible to benefit the entire how did you end up being in charge of this highly ambi- each part has a specific role, and an important function. Mexico, few curators, no art magazines, no government art scene. And this same philosophy can apply to every single tious project? But it probably also comes from somewhere else: an early support; museums had very little funds. Even books were thing we planned at that time at La Colección. I started thinking about the lack of contemporary art collec- experience, a home conversation, the landscape driving hard to find! That is why we decided that Jumex had to sup- tions in Mexico during my master’s and even more so while through this country, a little Mayan town, a sewing machine, port museums, students, artists, curators, shows, catalogues. Aside from your responsibilities as the director, you also I worked at the Lisson Gallery. There, I saw how Rosa de la a specific flavor, images of different people and differences People began asking for our support, and the decisions were curated six major exhibitions at Jumex. How did you go Cruz, Sandretto, Saatchi or Panza di Buono, were building within people, a certain school, a professor, an accident, a taken based on the importance of the projects. We were about your personal curatorial approach? their collections. During those years, new galleries like Jay song, a line in a book, a film, a photograph, a walk, an atlas…. quite flexible and open, and the decision of what to support Curating gives me the opportunity to concentrate on a very Joplin, Sadie Coles and Maureen Paley were emerging; mag- was in response to the needs of the art scene, rather than to specific project, subject, sensibility, and to make a personal azines like Frieze, Untitled and Third Text were also new to From the start, you made the judicious choice not to pur- a “policy” or “specific guidelines” by Jumex. statement about it. This has to do with my personal take on the art scene and they all had an innovative take on what was chase only from local artists but also from international art. Directing Jumex, the administrative work of building the happening. All of these made me realize the lack of a good ones. Could you explain how this decision was crucial in You also established an extensive parallel program of collection and the institution were adjacent to this personal contemporary art collection, public or private, in Mexico, and the perception of Mexican art on an international scale? activities: a series of lectures, a library, educational courses need. So, it was easy to meet my different responsibilities: the infrastructure supporting a sound art scene. When I came It is actually the other way around. At that time, the late and workshops, etc. How did these different axes mature? acquisitions, setting up and running the different programs, back to Mexico, I already had an idea of what I wished to do. 1990s, the safe and natural tendency would have been to The axes that were created at that time matured on their curatorial projects and administrating all of the above, was I knew the government did not understand the importance of collect only recognized and upcoming “international” con- own, by themselves. Little by little there were more things a single job. collecting and promoting contemporary art, and that it was temporary artists. However, for me the distinction between to do, and with time these initiatives each became a depart- The exhibitions I curated at Jumex were my own lecture on not worth trying to convince them. It had to be private. I was national and international had always been troublesome. It ment in their own right. Having always a central and main what we were building at La Colección, and why we were very fortunate then to meet Eugenio López. was already obsolete when I started at Jumex, something I vision, everything was, in one way or another, linked to the doing it. For instance, Eden, in 2003, came from the need At the very beginning, Eugenio and I did not know that confirmed when I did studio visits to get to know the work collection we were building and the reasons why we were to raise a voice in the aftermath of 9/11 and the beginning Jumex would grow so much and reach the scale it has today. of some of the emerging Mexican artists at the time. While building it. of Bush’s war in the Middle East. At the inaugural exhibi- We did, however, have a very precise idea of what we wanted I had been away, something had happened in Mexico; artists Again, we knew that our generation of artists, gallerists, crit- tion of the museum in Ecatepec, for example, in early 2001, to build: an important global contemporary art collection, that had started grouping together to study and work. Places like ics, curators, needed to grow, to become more professional, the main thing I proposed was to exhibit this new genera- at the same time would promote and support the Mexican La Panadería, Art and Idea, Temístocles, were the epicenters more “international”; we knew the artists had the talent, and tion of Mexican artists side by side with established and art scene, while creating an important interrelation between of a new kind of creativity. My first impression of the work of that a stronger local scene was needed for them to become emerging “international” ones. I was making the case that both. We wanted to bring them together, to build bridges in these artists was quite positive. I was surprised by the quality, better known. For example, one of the programs we created contemporary Mexican art had the quality and strength to Mexico, to and from Mexico, and that all aspects of the col- the fearless/freshness and depth of their work. consisted of inviting foreign artists and curators to come to resist the most thoughtful analyses, that it came not only 178 - 179 from its Mexican “roots,” but rather participated in a very specifically commissioned for this space; the idea behind Looking back at your trajectory, we realized that you initi- munity in Mexico City was how divided it is. Do you agree broad dialogue with most of the “international” artists we this space is to concentrate on the creative processes of the ated many projects. Do you know why you often intervene with this statement? If so, do you have an explanation for were already collecting. It was important to start breaking invited artists, rather than simply acquiring pieces. In other at the onset of a particular project? this peculiar situation? this “exotization” that “Mexican art” held. Until then, the words, in ten years we will have forty pieces produced for I like to invent and create things, not only exhibitions; rather Unfortunately, what you heard is true. The art community shows in which Mexican artists participated were only of Alumnos, rather than two thousand. The third component than considering myself as a curator, I see my work much is divided. It is full of resentment and power games between Mexican artists; it was very difficult for people or specialists is a whole array of lectures and classes, to promote an inter- more as a builder of institutions. It would be very easy to groups, artists, institutions, galleries, curators. Naturally, col- to see the works of art in this context, without a sense of disciplinary dialogue between contemporary artists, film and follow a single curatorial path. But I think Mexico needs lectors are the only ones who speak to all groups, better, all foreignness and otherness. theatre directors, actors, academics, writers, entrepreneurs; much more than that: particularly fifteen years ago, it needed groups speak to the collectors because they keep the system Parallel to Jumex, it was also important to me to be able to the fourth element is a small public garden with contempo- infrastructure, it needed an important international contem- alive. keep an independent curatorial practice for other institutions. rary art for people to visit. porary art collection, it needed someone to collect and treat The State could play a key and profound role in making this Alumnos is located in a very accessible part of Mexico City the work of artists with professionalism. However, although different, but instead, it chooses to make the abyss larger What put an end to your collaboration with Jumex? What (the San Miguel Chapultepec neighborhood), close to metro this has greatly evolved, there is still a lot of work to be done. and even takes sides. On one hand, many people in public made you decide it was time to move on? stations and other means of public transportation, thus we For instance, good art critics are absent today in Mexico; institutions believe that public and private spheres should be After eight years of having been one thousand percent com- envision a place with a constant flow of students and visitors. there are more and better curators than a decade ago, more divided: they claim a public moral status that private enti- mitted to Jumex, it was time to move on. I wanted to have It is an initiative that hopes to have a comfortable atmo- and better galleries, more and better publications; however, ties lack. They are very suspicious of anything that comes my own family. But also, by then, Jumex was strong enough sphere to attract people from a wide social spectrum. we lack art critics with professional ethics, less power driven from the private sector and have very old means and ideas to stand on its own. The scope of this project is the creation of a privately funded and with real independence from institutions. to make this a virtual cycle instead of a resented one. They institution; this foundation will be structured as a non-profit But above all, Mexico needs a different set of ethics. Politi- need their money but are not willing to assume their share From 2005 to 2006, you were the program director of organization and will operate with the explicit intent of pro- cians and businessmen should understand that it is their duty of responsibilities and the consequences of the decision- the Yvon Lambert Gallery in New York. How would you viding the city with an essential element of a public cultural to transform the vices of our system and institutions. Unfor- making process. describe that experience? Did you identify some cultural infrastructure. Currently, that does not exist: there is not a tunately, only a small group of these people are aware and It is very sad to observe the small mentality of our national divergences working for a Frenchman in an American single contemporary art library in the whole city of Mexico. committed to these values and principles. In the best case cultural institutions, their lack of vision, courage and under- context, compared to your former positions in Mexico? scenario, a few of these businessmen believe that through standing of the contemporary art world. They are used to Mexico City and New York are very different. The charac- After your rich and groundbreaking career, working with, their timid philanthropic efforts they can redeem themselves judging on strictly safe and mediocre grounds. Cultural teristics of my work in both institutions were also very dis- and/or for, some of the leading international art figures from their chronic capitalist nature. authorities do not have the adequate backgrounds: they have tinct. Being a program director for a gallery and starting a while undertaking pioneering approaches, are your inter- I am quite fortunate that the circumstances have allowed me a short-term mentality, and most take refuge in the com- private contemporary art collection from ground-zero, have ests any different today? What challenges await you? How to put some of these ideas into practice, and even better, to modity of their desks and salaries. All of this makes it impos- very few similarities. do you maintain your motivation? work with people with whom I share these values, and have sible for them to innovate anything. When I took over Yvon Lambert in New York, things at I believe in the power of art to change our worldwide view, been able to make them a reality. the gallery were not at their best. The gallery’s home base even if only slightly. But staying motivated in the art world is What Mexican artists are you looking at today? From your in Paris, as is well known, had (and has) a solid and estab- not always easy. As any other kind of job, and world, one has Most of (all?) your past experiences took place in the pri- perspective, do you think the Mexican creation is under- lished reputation. But the New York branch had no struc- to be constantly deciding what is worth it and what is not: vate sector of the art world. Was it a deliberate choice not going a productive and relevant period? Is it easy for you to ture. The project also considered integrating the work of with all the noise and interests that surround the art world, to be involved with public institutions? renew your “supply” of artists and satisfy your collectors? emerging young artists, which we had to position within you have to be very aware of your convictions, in order to This is how things have turned out, but not by deliberate There is a very solid generation of artists who will keep both the American and the global art context: a few of these make the best possible decision. choice. In fact, it is quite the opposite: my motivation behind growing and doing great works, thus one needs to keep track artists came from peripheral countries. The project was also My interests remain the same. I am very interested in con- Jumex and Alumnos comes from a personal political and of their careers, of those artist who have proved to be good, an experiment: we were all learning how to deal with it on tributing to changing our landscape. The challenges are public policy vision and commitment regarding contempo- and observe how they evolve. a daily basis. It was a very interesting experience, and I am always there, what matters most is the learning experience rary art, and its social and cultural value, which I have been Also, it is extremely important to keep on seeing what the happy to see that since then Yvon Lambert New York keeps and what you do make out of it. quite fortunate to achieve via the private sector. new generations of artists are producing. At the moment I on growing. I wish Mexican cultural institutions had a vision—any am building an archive of young artists and looking at their Aside from your directorial position, you keep on curating vision—regarding contemporary art, but they do not. Cul- work. From this first research I will be doing studio visits, While visiting Mexico City, you kindly took us to a beauti- exhibitions, write art essays, teach and give conferences tural politicians (funcionarios) and bureaucrats do not under- it is very important to see them at work. For the last year, I ful villa where you will soon establish a new foundation for around the world. How complementary and necessary are stand contemporary art, and have never been able to relate have been very concentrated on thinking about how to build a private collection with a focus on its library. Could you these different activities for you? to it. For me, it is quite astonishing that they do not see the Alumnos and the ideas and parameters for the AXA Mexico tell us about this intriguing project? Well, “around the world” may be a little exaggerated to say. value and importance of promoting it. This is why private collection. With these two things now in place, I need to go The idea behind this new project is quite different from what But yes, these activities are closely interrelated with each collectors in Mexico and private projects have taken up so back to learn more about the upcoming artists. I have done until now. It’s called Alumnos (which, by the way, other and with what I do: I see them as part of a single prac- much space in the national art scene and why they are so Any upcoming projects you want to share with us? So that and by pure coincidence, is the Spanish word for students). tice; for instance, preparing a course is very similar to the relevant; here the State is simply absent. you know, we are planning to release our publication in There are four elements at the heart of Alumnos; one will kind of research that I undertake when curating a new art September, probably not before then. be a public contemporary art library; a second will be a small show, or when learning about a new artist, or when thinking During our stay in Mexico, one of the most recurring I am building a new collection for AXA Mexico, which is an exhibition space where we will show four projects per year, about a new space, or writing an essay… remarks we heard to describe the contemporary art com- important French insurance company that just recently (two 180 - 181 years ago) started to do business in Mexico. It is interesting, because if at one time I was interested in not making a distinction between the international and national arenas, this specific collection will concentrate only on Mexican contemporary artists. I do not know of anyone in Mexico or outside Mexico, who is specifically building a Mexican contemporary art collection, something I believe has been long overdue. It is again, an important opportunity that has been overlooked by the public cultural institutions. You do not know how many times, and with how many cultural politicians I have met with to try and convince them about the importance of building such a collection, and to invest in our artists. They just do not see it! However, I was quite lucky to meet the CEO of AXA Mexico, Xavier de Bellefon, who completely understood this vision. I think it will be great for AXA, a foreign company in Mexico, to have such a collection; it will be unique, focused, important, and very valuable from every aspect, for AXA and for the Mexican art scene. This is a project that fulfills many of my interests.

Patricia Martín: the beginnings of La Colección Jumex, 1997. 182 - 183 Patrick Charpenel (1967, Guadalajara - MX) / Independent Curator / Lecturer / Art Historian / Contemporary Art Collector / Based in Guadalajara

By Macarena Hernández & Magnolia de la Garza Interview

Macarena Hernández & Magnolia de la Garza: What was Over time, which acquisitions have been groundbreaking What does opening and reclaiming a public space like the the first thing you collected in your life? At the moment, in the development of your collection? botanical garden of Culiacán represent? do you have another collection parallel to your contempo- As a matter of fact, every work that is incorporated into the The botanical garden is a project that has been developed rary art collection? collection represents an important moment, opening a chan- inside a public park in the city of Culiacán. Since Culiacán is Patrick Charpenel: The Charpenel collection in Guada- nel for experience and reflection. However, I believe that art- a very complex city, in which organized crime has important lajara belongs to a family collection in which, in one way ists such as Germán Venegas, Francis Alÿs, Anri Sala, and cells and organizations, it becomes interesting to create criti- or another, all members of the family participate. However, recently Danh Vo, constitute exceptional cases that trans- cal experiences that absorb economical and cultural prob- because of my professional vocation, I have been the most form into models of thought. An example of this would be lems. Because of this, my project does not have the intention active and the one who has defined the profile of this heri- the works of Francis Alÿs, who has the ability to make the of inserting a group of sculptures amongst a collection of tage. Possibly the first works my father acquired were some everyday systems that operate in urban and domestic con- trees and tropical plants, but to understand the dynamics by Gunther Gerzo in 1973. I became involved in 1985 when texts collapse through small gestures or statements. that are created there in order to strengthen the moments I was about seventeen or eighteen years ago. It began as a and conscience of each visitor, sensitizing him or her to the collection of local artists and rapidly began to open up to At this moment, which artists are you currently looking at vegetation, the light and the problems of this city. This is new proposals and artists from other latitudes. and what book are you enjoying? the reason why the project is focused in making the public This is a collection that has been built up slowly, giving good Nowadays, I am particularly interested in the work of a fundamental part of the work and not just by imposing a thought to every acquisition and taking the time to immerse Roman Ondak, Abraham Cruzvillegas, Tino Sehgal and product as a symbolic element of the place. ourselves in each artist and every product. Simon Starling. The conceptual rigor they maintain, without To answer your second question, yes, in fact, between Mar- renouncing to a strong narrative that engages you by open- Can you talk to us about the artistic context in Gua- iana Munguía and myself, we have created a library that ing a temporal space and creating strong ties with specific dalajara? What kind of initiatives and collections have functions as a support to our research and professional social and historical contexts, is something that I find very appeared? What repercussions do the initiatives have projects. interesting. Right now I am reading Memoirs of Hadrian by within a national context? Marguerite Yourcenar. Guadalajara is one of the largest and most powerful cities in Why collect contemporary art? Could you give us a brief the country. It is, however, a conservative city that is fearful history of your process as a collector? How would you describe your general curatorial proof the new, yet it has been the birthplace of great artists and As a collector, curator and human being I have followed with cesses? Is there a relation between these processes and the cultural expression such as the ceramics of Tonalá, tequila perplexity and enthusiasm the economical, political and cul- forming of your collection? and mariachi. Nowadays, there is a great effervescence of tural events of our time. I never cease to be amazed by the Each project has a very different process. It actually develops artists such as Fernando Palomar, Jorge Méndez Blake, technological developments, the appearance of new tenden- in response to specific problematics in which contents and Gonzalo Lebrija, Rubén Méndez and José Dávila. Regret- cies of thought, as well as the natural disasters and political context determine the research. What I could say is that what tably, spaces for exhibition are limited and committed collec- scandals that I have witnessed in these more than forty years has been a constant for me these past few years is working tors are still too few. The work carried out by OPA (Office of life. The artistic expressions that have arisen in response around social problems in which the economical, political and for Art Projects) and the workshops of the Suro and Ashida to these processes seem to me fundamental in understanding cultural context plays a part in the significance and value of family are admirable. I believe that this space and these the structure of the systems and interests of the hegemonies a project. I think it happens the same to me with this word, workshops have put Guadalajara on the map as a far-reach- of power. Contemporary art has the capacity to show us the maybe: in referring to the work or to what the works respect… ing center for exhibitions and production. I hope that with skeletons of capitalism in globalization. .I don’t know! I believe that only by conducting an exercise the creation of the Barranca Museum of Contemporary Art, My process as a collector has passed from a hedonistic expe- in analogy-based comparison one can achieve a certain criti- the artistic scene of the west of the country will be enriched. rience in respect to each piece of the collection, in which I cal dimension repecting the work and products of our society. sought to directly enjoy every work, to a more detached and The process I follow as a collector is not that different, in it analytic posture in which the connection to the piece begins I try to identify products that operate in these problematic to develop in public spaces, where collective discussions and spaces and, if possible, I would like to think that every piece of experiences must be generated. the collection must be placed in the most dynamic spaces for debate, such as the street, museums and publications. 184 - 185 Petra Curatorial Project / Founded in 2007 / Mexico City / Authors: Montserrat Albores and Pablo Sigg / Presented artists, writers and curators (selection): Jonathan Hernández, Lawrence Weiner, François Bucher, Samuel Beckett, Luc Tuymans, Los Pellejos, Daniel Guzmán, Lynne Cook, Abraham Cruzvillegas 186 - 187 188 - 189 Proyectos Monclova Gallery / Founded in 2005 / Mexico City / Director: José García / Represented artists: Nina Beier, François Bucher, José León Cerrillo, Mario García Torres, Napoleón Habeica, Christian Jankowski, Nina Beier, Marie Lund, Eduardo Sarabia, Tercerunquinto

By Magnolia de la Garza Interview with José García

Magnolia de la Garza: The gallery has gone through dif- We feel the traditional system of six exhibitions a year in a ferent stages and locations, how could you define each one predetermined space is becoming obsolete, at least to us. The of these? gallery’s artists are making ever more diverse projects that José García: The gallery has gone through three different don’t necessarily require four white walls to be exhibited. On locations and we are about to inaugurate the fourth, all very the other hand, we believe it is much healthier for artists, different from each other. Even though it is now becoming instead of developing a body of work based on the commit- a habit, I believe these changes have occurred because the ment to a date for an exhibition set by the gallery, to work gallery has been evolving and developing different needs; the on projects that are not rushed, so they can be more complex first space in Frontera 96 was a basement with grey walls. pieces or objects and then, when the work is ready, we can The very nature of this space made the atmosphere of the work on finding the most appropriate moment and setting exhibitions much more relaxed and fairly free of pretense, for each situation. back then, we did not even represent artists as such. After- wards, the gallery began to grow and we were faced with the What place do you think the gallery occupies in the con- need to find a more serious space in order to position our- text of the Mexico City art scene? selves as a commercial gallery; that is, when we changed to I don’t really know how they view us or place us within a Colima 244, and after a little more than a year, we moved to local gallery scene, but I feel that after a time when there was Goya 6 in Mixcoac, a larger space that allowed us to do even little movement, there are now new galleries and spaces open more ambitious projects. We liked the idea that it was outside and the art scene in the city feels much more active, I like to of what could be considered a well-established artistic or cul- think that Proyectos Monclova is a part of that energy. tural area of the city. So we stayed there for two years. Now we find ourselves once again re-evaluating our method of Aside from the gallery, have you begun to develop other operation, reconsidering both our posture towards the mar- projects? What are these and how do they tie in to your ket and the process of creating a gallery program, focusing on work at the gallery? developing projects in closer collaboration with the artists. I am starting a non-profit project that consists of inviting national and foreign artists to create projects in the area of What factors have had an influence on the gallery’s San Rafael, a township located to the north of the port of evolution? Veracruz and very close to the coast; it is a project that I Time, practice and the wrong and right moves themselves am doing in collaboration with Carlos Couturier and Moisés have made and taken the gallery to where it is today, for Micha, two great businessmen and collectors. better or worse. It is a long-term project that we hope becomes a type of sculptural locale or open-air museum. We are already pro- Where do you aim to take the gallery with this new space? ducing a couple of projects from the first guest artists and I As I was saying, we are changing the way we operate and am very happy with the results, we hope to open the project with this new space we are trying to have a base that is more to the public towards the end of 2010. accessible to everyone, to artists as well as friends of the gallery and collectors. The inevitable question… What is it you see in your In this way, we are looking to function as an office for the brother Mario’s1 work and how has his work influenced (or gestation of projects where the artists are more closely not) your own criterion in working with other artists? Tercerunquinto Clockwise from top worked with, and that allows us to get involved in their Mario’s work excites me, I even think at times I can’t be Proyecto de escultura pública en la periferia urbana de Monterrey, 2003. Intervention. 50 m2. Courtesy of Proyectos Monclova, Mexico City. processes so we can then develop more solid and arresting objective about it, as my brother has had an influence on Guardarropa, 2006. Action. Variable dimensions. Courtesy of Proyectos Monclova, Mexico City. projects together. me throughout all of my life and I have admired him and Open Access, 2005. Intervention. Variable dimensions. Courtesy of Proyectos Monclova, Mexico City. 190 - 191 his work for as long as I can remember. However, the gallery was a project that I began in a very organic manner with my friend Alejandro Romero (a.k.a. “El Chicle”) and it has come about without too many pre-established conceptions, rather, it has been an experiment that has continued to grow and has been developed on the run. Naturally, Mario has been close to the gallery since its beginning and has advised us informally on repeated occasions, but he has been a part of the roster of artists for only a year and a half or so. The gallery has a very direct and personal approach with each one of the artists and has created a distinct and personal relationship with each of them.

1 Mario García Torres (Monclova, Mexico, 1975), Jose´s brother, is an artist whose work investigates aspects of conceptual art. In 2007, he received the Cartier Award at the Frieze Art Fair. His work has been shown in individual exhibitions at the Thyssen-Bornemisza Art Contemporary, Vienna (2008); Stedelijk Museum, Amsterdam (2007); Kadist Art Foundation, Paris (2007); in group shows in at the Museo Reina Sofía, Madrid (2010); Tate Modern, London (2007); and, at the Venice Biennale (2007); among other venues.

WWW.PROYECTOSMONCLOVA.COM

Mario García Torres. A Brief History of Jimmie Johnson’s Legacy, 2006. Color video with sound on DVD. 6 minute, 45 second loop. Courtesy of Proyectos Monclova, Mexico City. 192 - 193 Raul Ortega Ayala (1973, Mexico City - MX) / Artist, represented by Rokeby Gallery (UK) / Based in Mexico City

1955 Interior office spaces, Field-note 06-01-06-1, 2006. From the series 1955 Interior office spaces, Field-note 06-01-06-2, 2006. From the series Bureaucratic Sonata. Photograph. 23 x 53 cm. Bureaucratic Sonata Series. Photograph. 23 x 53 cm.

Left page Below White Post-it notes with black marker folded to create a pattern, 2005. From the A passenger elevator, 4 mirrors, and a post-it pattern combined to create an infinite series Bureaucratic Sonata. White Post-it notes. Variable dimensions. space, 2006. From the series Bureaucratic Sonata. Variable dimensions. 194 - 195

Top Field-note 03-05-06 (A found image of a buffet served at the Windows on the World restaurant, the World Trade Center, New York) / Melting Pots, 2006. From the series Food for Thought. Digital image on photographic paper. 27.9 x 21.6 cm.

Bottom Melting Pots (photographic documentation of an installation), 2009. From the series Food for Thought. Digital image on photographic paper. 27.9 x 21.6 cm.

left page Field-note 19-12-05-3 (Mirapolis: A Failed Food Theme Park) from the series Food for Thought, 2005. Digital image on photographic paper, 10.6 x 15.24 cm. © Food Museum.

All images courtesy of the artist. 196 - 197 Ricardo Alzati (1974, Mexico City - MX) / Artist / Based in Mexico City

By Pip Day Interview

Pip Day: I thought that we could begin our conversa- sible? Here enters the idea of the superficial. Ultimately we tion by looking at your perspectival constructions. These have nothing but appearance to bring us closer to any deeper pieces look like three-dimensional computer-generated meaning. Through the use of surfaces we construct depth… architectural drawings but are, in fact, incredibly labored and painstakingly rendered by hand. You construct your I’m thinking about the way you have moved, in your more settings and suggest that there is a single correct view- recent work, from the surface to the interior—particularly point for them: one spot in the room where the viewer in the documentary film project that you are working on, should stand to see the piece properly. Although you set which examines the architectural history of a semi-aban- up the perfect viewpoint from which the various elements doned glass building in the Centro Histórico. The build- come into perspectival sync, this view can only be achieved ing has a complicated history—one that involves a range of through the lens of the camera. The “correct” view is unat- players, from large corporations to homeless squatters— tainable for the human eye. Perhaps you could discuss your but has been left essentially as an urban ruin. The ruin is interest in modernist notions of space, and in these “draw- another modernist trope, traditionally invoking nostalgic ings” as critiques of the ideal modern subject? reveries and melancholic sighs; but it seems to me that you Ricardo Alzati: The perspectival system has been under- are not focusing on this aspect of the ruin. Perhaps you can stood, within the European tradition, as the perfect repre- discuss the ways in which you are attempting to repopulate sentational system. The world becomes the subject of the the empty building, and the ways in which you attempt to individual; everything is “outside,” to be conquered. We no re-inscribe its history by reconsidering its architectural longer are part of “the rest of things.” The trick that exists physicality? within this system is the idea that we are all equal, from The building is not entirely made of glass. It would have which an operation of false democratization occurs. We been a tremendous stroke of luck if it had been. However, it all become Citizen X. And the world is out there, waiting. does have large expanses of glass and aluminum, which were Which is precisely the space that I am interested in under- added after the 1985 earthquake, making it quite transparent scoring – a space of illusion and contradiction. The only way on two of its four facades. Until recently, the building had for the perspectival system theory to work is actually through been devoid of function, and its use takes the building, and a fixed and unblinking point of view. This is where the cam- my approach [to it], away from a nostalgic interest. More- era enters as an arguably hyper-objective device. The camera over, the building has been adapted in its physical and func- replaces us and gives us the illusion that we can look at this tional aspects. It has been the container of a number of func- or that in a real and verifiable way. In the same way that tions, each leaving its trace and pointing towards the use that the camera becomes an extension of our vision, we become followed. The fact that the bank’s public business has been subjects of its vision. We are provided with images of a vision operating eliminates nostalgia and turns it into something of the real by a fixed and unblinking device. We adopt a cer- else, something more about flux and adaptation than longing tain translation of what is real, placing perhaps a bit too for what is gone. However, there is a pinch of that—a pinch much trust in this technical device or filter, as if it were an of promise and programs never achieved. What would have obtrusive and literal translation of whatever is out there. At happened if…that is a line of thought that, in light of con- the same time, here is where modernist notions of transpar- temporary Mexican economic, political and social circum- ency and efficiency enter—the image of what the modern stances, is difficult not to take… was and is supposed to build. Isn’t it lovely to see a multi- national office complex made of pure glass? To know that many obscure and rather intangible deals happen in broad daylight just behind glass, in a building meant to be looked Bloque, 2007. Yarn, paper, scotch tape and photograph. at and through, and used and understood as simply as pos- Five prints: 40 x 40 cm each. Courtesy of the artist. 198 - 199

So the building belongs to a bank? money to go to a remote beach destination, and he was The building was constructed to house the central offices always calculating how much money he needed to cover his of Banco Mexicano de Comercio (Bancomer), which was expenses. He planned to run a little enterprise in which some a division of Banco Nacional de México, the only Mexi- of the other squatters would be his employees. Now I need to can bank that existed after the Revolution. In a few years, know if this ghost finally made it to the beach, or if he ever Bancomer was in a position to buy several regional banks, was in this building at all. and became the second largest bank in the country. In the 1970s, the bank played an important role in the crisis, playing against the peso by using cheap dollars, and when the devaluation struck, the bank collapsed. To make a long story short, the building was proposed first as the bank’s central offices; later it became an asset that the government owned while taking over every bank. This happened in 1982. In 1985, it was severely damaged by the earthquake. Later on, the bank built another building and at the same time they restructured the original building, taking away some floors and reinforcing the original structures. Little by little, the importance of these offices diminished, as the bank passed from the government to private investors and was finally abandoned in 2000 when the bank was sold to the Bilbao Vizcaya group. After that it was taken over by some homeless kids, who used it as a squat. Later on, and as part of Autorretrato (descendiendo la escalera), 2009. Video installation. Projection: 600 x 450 cm. Courtesy of the artist. an agreement between the leftist city government and Mr. Carlos Slim, the building became part of a redevelopment program and is “administered” by Centro Histórico SA de CV, the real estate branch of Mr. Slim’s interests in downtown Mexico City. In the beginning, the idea for my project was to make a video that would establish a parallel between the building and these socio-historical processes. The building is partially dismantled, and the higher you go [it is evident that] fewer elements remain. This fact made a strong impression on me. It suggested the idea of phantasmatic collapse. Instead of an accumulation of ruins, it seemed the opposite: not an accumulation but a dispersion or depletion of elements—some kind of disappearance. The more you advance into it, [you realize that] less is left…

And there was a surprise element that emerged during your filming in the building, which has taken the project on quite a different path… It was at this point, with this very linear script developed, that I came across a diary belonging to one of the squatters, probably an American. Despite his rather cryptic language, it is clear that he was suffering from severe paranoia. It refers to the FBI and other US government agencies that suppos- edly wanted him eliminated, and also includes very poetic and mysterious entries. This diary provided me with a whole new line of research. There was an element of phantasmatic presence and absence [in the diary], and at the same time there is a certain sense of individual economics. The diarist was always planning how to be on the move. He needed 200 - 201 Silverio (1978, Chimpancingo, Guerrero - MX) / Musician / Co-Founder of music label Nuevos

By Peeping Tom Interview

mer’s “U Can’t Touch This…”). Are there any conscious Where is this saturated voice of yours coming from? references in your choreography? Where do you get your energy from? You often (always?) end up in unsuitable underwear during your shows. Beyond the immediate joke, I think you Do you ever get crazy groupies? What is the wildest thing are giving a strong message that people should get rid of a fan did to you? their hang-ups and assume their bodies. Are you aware of this subliminal signal? Do you ever flirt with your groupies?

(It seems that, with the character of Silverio, you are play- With renowned Mexican artist Carlos Amorales, you cre- ing with a caricature—and it’s not a flattering representa- ated the music label Nuevos Ricos. Where did the name tion—based on the idea of what a Latino white-trash male Nuevos Ricos come from? Could you tell us in what con- Peeping Tom: Please tell us who you are, Silverio. (Where could be, from a very idiotic and shallow perspective.) text it was coined and what the initial intention was? is this character from? What was the starting point and While you are acting totally macho, it seems that your what references did you use to build up your persona?) behavior is perceived as provocative more by men than You are also a member, with Emilio Acevedo, of the famous women, paradoxically. How do you explain this? Do you electronic music band Titán. Could you explain how Titán When I ask you questions, you often respond with a growl think—as I do—that some men are jealous of you? (Small differs from your Silverio project? (grrrrr…). What type of animal are you? (Personally, I anecdote between you and me: during your concert, while think you are a tiger, but I might be wrong.) I was dancing and whistling like a mad lady, one guy—who In terms of personality, is there any similitude between was apparently trying to pick me up—asked me in a very Silverio and Julian Lede? What does “Yepa, Yepa, Yepa,” the title of one of your skeptical tone what I could possibly like about you.) greatest hits and an expression you often use, mean? What Is there an upcoming project you want to tell us about? is this language of yours you call “ugachaca”? I fell in love with you the day I saw a video of a Dutch TV show in which you participated (I encour- What do you dream about? You are always wearing the most exquisite, dazzling out- age everyone to watch it: http://www.youtube.com/ fits. What is the importance of wardrobe to your character? watch?v=8HubkZiKJ7o.) While your host seems to under- Do you wonder why you are being interviewed by a publi- stand the whole spirit of your performance, some of his cation dedicated to contemporary art? Your concerts are highly performative and physically chal- guests looked completely abashed. Do you often get this lenging. They seem to act as some sort of catharsis, tak- type of reaction? Do you get different reactions depending Silverio: ARE ALL THE FRENCH PEOPLE LIKE YOU? ing you and your audience close to a hysterical trance (am on the country in which you perform? Besos y caricias de Su Majestad Imperial Silverio. I going too far here? Hmm, hmm…). It seems that your music and your onstage charisma allow people past their Unless you are tired of this particular story, perhaps you WWW.NUEVOSRICOS.COM boundaries, to fall into euphoria. When we saw you at can tell us a bit about your performance at the Museum Club Cobra last fall, we thought the floor would collapse of Modern Art in Mexico—which was interrupted by the as the audience was so excited, jumping all over the place. police—and the ban of your video clips on music TV chan- They threw objects at you (from beer cans to bras); you nels, including MTV, that followed. What do you think is threw insults at each other. How did this passionate rela- shocking about your work? tionship with your audience develop? Are extravaganza, absurdity and humor your responses to Your dance moves are very personal and sophisticated: it the frequent seriousness and slickness of the electronica seems to me that you combine different genres. (I might be scene? Extracts from music video Yepa, Yepa, Yepa, 2006. Director: Miguel Calderón off here, but I kind of noted a slight homage to MC Ham- All images © Silverio and Nuevos Ricos. 202 - 203 Tania Pérez Córdova (1979, Mexico City - MX) / Artist / Based in Mexico City

By Magnolia de la Garza Studio Visit

On the top floor of a building in the Roma neighborhood, in the middle of a grand terrace, is the studio of Tania Pérez Córdova. The first room of the studio is divided into three spaces, a worktable filled with drawings and papers that extend up onto the walls. There, we also find a patent for a machine created by her grandfather. In the second room, a sofa and a desk function as the stage on which our conversation about Tania’s work takes place.

The last time I saw Tania Pérez’s work was in Paris, where she had two pieces in Kadist Foundation in an exhibit curated by Jennifer Teets. In Mexico, I had only seen her work years earlier, when she was still an art student. One piece detailed the process she went through in order to pur- chase a pair of boots with the show’s production money. For Tania, this piece has no connection today with her output or interests of the last few years. If in that first piece the interest was in documenting the process of acquiring an object, today her interests have turned to the conditions of the existence of objects and not their context.

Temporarily Magnetized Objects (2007), is part of her interest in the condition of objects. In this series, small sculptures without a definite form were magnetized in a university laboratory, then photographed and later became part of a film that documented a session in which different people were invited to interact with the objects arranged on a table. The actors did not follow a script, so the result is a video where the participants, without establishing any dialogue between each other, did so with the objects.

In different areas of Tania’s study one can see how her work is composed of the elaboration of objects, photographs, drawings and movies, both the ones she produces and the ones she recovers. The Skeptics (2005-2007), is a piece that from the groups of skeptics, a moment of tension in England bases are placed in the foreground, placing what was left in most recent works that explore today’s communes and the takes its name from existing groups in England, who dedi- where there was a suspicious fear after the attacks that took the background in front, rewriting the relationship they had ways in which the members think about work or coupling cate themselves to giving rational answers to images and place in London. in the past. without being linked to religious or ecological matters. phenomena for which non-scientific explanations have been These lines of research have in common the relationships sought. A series of slides are projected in a gallery with a Her work involves forms of translation and re-inscription of Tania’s works are tied to different themes or lines of research, that are created between subjects and objects, which are then sign posted at its entrance that says: “there is a special guest.” objects and ideas: as in She Says, He Says Too, Tania recovered from the science fiction literature of Eastern Europe and the transferred into her work, which in an age of digital produc- This text creates a sense of expectation in the visitors, as do architectural objects from a photography studio devoted to “aesthetic of optimism” (as she calls the objects and events tion is still operating from the traditional space of the studio. the projected images. The installation has as a context, aside wedding portraits. In her pictures, the rescued columns and created by groups associated with new age practices) to her 204 - 205

Previous page Untitled (color), 2008. 3 minute HD video.

Right Demostración, 2008. 10 minute video..

Right page Temporarily Magnetized Objects, 2007. Cardboard, wood, metal and paper temporarily magnetized by request. Silver gelatin prints. 20.32 x 25.4 cm.

Below Síguenos, 2008. Gouache and pencil on folded bond paper. 40 x 40 cm.

All images courtesy of the artist. 206 - 207 Tercerunquinto Artist Collective / Founded in 1996 / Collective Members: Julio Castro (1976, Monterrey - MX), Gabriel Cázares (1978, Monterrey - MX) and Rolando Flores (1975, Monterrey - MX) / Represented by Proyectos Monclova (MX) and Peter Kilchmann Galerie (CH) / Based in Mexico City

By Daniela Pérez The Rules of the Solidarity Economy Project

Integrating or perhaps even intruding on social and eco- mented and decided upon the final form this work would find and later revise the documents and decide which one or The result was a link made of wood that stands aestheti- nomic spaces of public and private sectors has been one of take. Recently, at Zona Maco 2010 (the Mexico City art ones will become the final work and what will be exhibited in cally and conceptually for the Solidarity Economy Project, Tercerunquinto’s main artistic quests. In late 2008, the art- fair), this work was finally exhibited at the booth of Proyec- order to explain the project. In this case, the documentation that involves a quite nostalgic comment about relation- ist collective (made up of Gabriel Cázares, Julio Castro and tos Monclova… remains as documentation just to give faith and prove that ships, including social and economic dimensions, but Rolando Flores) agreed to start working with Proyectos the project was made. Nevertheless, I decided to go back to would you also imply that this process produced in the Monclova, a gallery in Mexico City. Interview with José García the essentialness of the project in order to resolve, from that end a work of art that talks about exchange, transforma- place, what the final work should be: questioning or making tion, possibilities, coexistence, property and the context of After thorough dialogues, the collective established the rules Daniela Pérez: How would you describe the general a work about the relationship between artists and gallerist course within which the piece exists? under which they would participate in their first project in response of the public towards the initial proposal about and basically re-evaluating the market by making a piece Yes, I do. conjunction with the gallery and its director, José García, this work? Were they in any way in solidarity with you, from the point of view of the gallery. hoping to consciously explore the relationship between art- with the gallery and its “operativity”? ists and gallery. The game of the Solidarity Economy Project José García: Not really, many people sent e-mails “support- Do you think that the “operativity” of the gallery was (2009) were defined as follows: ing” the project and mentioning they liked it but no one affected in a longer term after this project took place? showed up at the gallery during the extra hours, I guess the Definitely, to the point where I decided, through this project, • The gallery, Proyectos Monclova, should modify its “opera- project functioned as a gesture and as an idea but no one to change to a different gallery space and rethink the general tivity” by expanding its commercial services to collectors really cared about experiencing it. mode of operating for the gallery. and general public, offering to be open twenty-four hours a day for seven consecutive days. During that week when the gallery was open, did you con- Tercerunquinto established the first set of rules for this sider that the final work or piece would derive from the “game,” but then the “game” was under your control. • A resulting work should be produced and it should exist documentation material you were producing? Was that Which new rules would you consider you implemented or and circulate on the basis of fundamentally commercial documentation similar to what the collective usually pres- applied? What was your strategy as “the gallerist” and/or interests and necessities. ents and exhibits? “artist” for producing this piece? Yes, the first thing that came to my mind was that the My rules are implicit in the final work, the fact that the work • Tercerunquinto would distance themselves from the docu- final piece would be a series of documentation materi- is sold only in two separate parts, involves me and establishes Economy Solidarity, 2009. Event. Wooden link. 5 x 9 x 1,7 cm. Courtesy of Proyectos Monclova, Mexico City. mentation procedure involved in the work transferring als like Tercerunquinto usually presents, so I took photo- my input towards this game. therefore, all responsibility to the gallerist, who, through graphs without much aesthetic compromise and in a doc- this process, would define the final aesthetic and form of umentary way, I tried to show the passing of time, quite Do you consider that through your particular involvement the work. monotonous, inside the space. I collected the newspapers in this project your “authority” as a gallerist was relatively of every single day and I even kept and wrote a series of more horizontal in terms of a dialogue with the artists or • Price, editions and form of distribution and marketing notes in a journal. not necessarily? would also be established as a result of a unilateral decision I would not speak about “authority,” but without a doubt by the gallerist. How would you describe the relationship between the those horizontal dialogues are the ways of working which documentation material and/or process you were involved I enjoy the most. Even if each player has their own role These terms implied, from early on, that the work would be in and the final physical piece, sculpture, that resulted within this system, I like to get involved, give my opinion placed or positioned at the center of any possible experiment from this “experiment”? and know about the development of the artists’ projects. I regarding the possible relationship between artists-gallery. Perhaps that way of working is very similar to the way the expect the same from them in regard to the strategies and Before, during and after this seven-day experiment took collective itself works. In several projects, Tercerunquinto forms of approaching the market and the forms of work at place, both parties remained in close and intense dialogue, provokes a series of situations without really knowing what the gallery. however, it was, as the rules state, José García who docu- will be the final result, so they register most of the things they 208 - 209 Yoshua Okón (1970, Mexico City - MX) / Artist, represented by Galleria Francesca Kaufmann (IT), Baró (BR) and Revolver (PE) / Co-Founder of SOMA in Mexico City / Based in Mexico City

By Peeping Tom Interview

Peeping Tom: In the middle of the 1990s, your art prac- measured in terms of how many people it reaches. On the tice brought a new energy to the Mexican art scene. While contrary, I think that attempting to reach the masses usually politically engaged, denouncing social and cultural pat- ends up compromising art. terns, your approach is principally based on humor, between comedy, satire and parody. Even if they com- Your work does not only counteract the conformity in mand different levels of reading, your artworks are very Mexican society but also the conventions in art: the posi- straightforward and accessible: they can be understood tions of art institutions and the artist and moreover the by everyone. We, at Peeping Tom, share the same ambi- image of a Mexican artist from a foreign perspective. It tions to stray away from artistic gestures that are taken seems you are constantly “desacralizing” the establish- too seriously, that are only directed towards an elite. Is ment and denouncing stereotypes. Where is this aspira- it important for you to engage a larger audience? Do you tion coming from? feel it is more difficult to gain recognition from the art I think that stereotypes and conventions are very limiting. world by doing that, instead of creating a highly intellec- For instance, the very definition of Mexican society as one tual and challenging work, based on numerous art history single monolithic abstract entity I think is very problematic. references, that for the most part is opaque to the general Identity is incredibly complex and my work attempts to open public? How did you perceive your approach initially when the door to such complexity. most artists around you were developing conceptual and minimalist practices? Did the art community have any dif- The participation of ordinary people is crucial in your ficulties in taking your work seriously? body of work. This usage of non-professional actors leads Yoshua Okón: I consciously have always avoided the term to a significant part of improvisation. What is the role of denouncement when describing my work. I feel this term the unpredictable in your practice? can be incredibly misleading. I’m interested in creating My semi-orchestrated performances are explorations for me works that provoke self-reflexivity in regards to how we per- as well as for the participants and for the viewer of the result- ceive social and cultural phenomena; in regards to our own ing videos. In this sense, unpredictability is essential and it is sense of reality. Humor and satire are excellent tools for such integral to the way my works are constructed. intentions because they allow us to take some distance from ourselves. Due to the use of humor, during the 1990s, some For the purpose of your videos, you bribed some of your of the art community in Mexico had problems taking my models. For example, in exchange for 200 pesos some police work seriously because, for some reason, there was a very officers agreed to dance for you, to tell a joke or to fight with strong association between solemnity and seriousness as well you. You also recruited undocumented workers from a day as between humor and superficiality. Maybe the reason, as labor center. Do the people you hire get to see the final vid- you suggested, is that humor is associated with popular cul- eos? Do you maintain a relationship with them? Are they ture, I’m not sure. But humor can be very serious if properly aware that these videos will be shown in a museum or a gal- used and contextualized. lery? Did this method lead to some sort of controversy in Regarding the other part of the question, when I make art the art community, raising some moral questions? I’m not primarily thinking about a specific audience but In the past I have had some “politically correct” people com- I’m concerned with addressing issues that concern others plain about ethical issues in my work. In a way, my work is as well, broad social issues. Nevertheless, I don’t believe in precisely designed to trigger such reactions. I try to be as universality and I think that different people relate to what

I do in different ways. I am not interested in reaching the Oríllese a la Orilla, 1999-2000. Six channel video installation. Variable durations masses and I don’t think that the effectiveness of art can be (detail: Poli IV, 2 minute 47 second loop). Courtesy of the artist. 210 - 211 self-referential as possible and to expose the very structure ence in the way yellow journalism operates in different places Do you share with most people we met a love/hate rela- We heard that the scene could get very wild at La of what you are watching. My works are naked and don’t other than in superficial ways. tionship with this country? Panadería: fights, passersby throwing stones at your win- hide the very problematic and messy relations implicit in I’m now full-time in Mexico City; I don’t live in Los Angeles dows, even orgies…are all these true or part of the legend? them and therefore in contemporary societies. In a way, the In Oríllese a la Orilla (1999-2000) or A Propósito… (1997), anymore. To me Mexico City serves as a base, it is a cos- If so, why do you think this place brought this peculiar underlying point of the works is to implicate the viewer. The you are questioning the application of power and author- mopolitan city, very active in my field and placed in a very energy? Do you think the conditions were right for show- problem with politically correct attitudes is that they are an ity through the police figure. Are Mexican policemen as central position in relationship to the outside (as a contem- ing and viewing art? Was this context for looking at art attempt by individuals to place themselves outside the pic- cynical and inefficient as you describe them? These videos porary artist I travel a lot and Mexico City is very convenient criticized? ture, to become passive observers or consumers stepping out date from the late 1990s. Do you see any improvement in because it is not far from South America, from the US and I guess these stories are partially truth and partially exag- of the world as if they were not participating. This is how the behavior of the police forces in recent years? Canada or from Europe, places where I normally find myself gerated. To me La Panadería served as a container and as mainstream media has taught us to behave and I think that I think that these pieces have to do with how cynical we working). I couldn’t ask for a better place to be. Nevertheless, a detonator that allowed all the already existing energy to this relation to “otherness” is very problematic. In my works all tend to be in Mexico City, not just the policemen. As in a professional sense I don’t depend as much on any spe- explode and further develop. This kind of energy was in the observers get thrown right back at the center with no other to whether they are inefficient, I think that is a matter of cific city. My profession is very global and I could potenti- air and all we did was to provide the right context for it to option than to take an active role and become implicated. perspective. ally be living in almost any important urban center. On the materialize. This is not a very comfortable place to be and many people’s other hand, it is very important for me to be part of a specific first reaction is to resist by blaming me for what they are Through your videos New Decor (2001) and White Rus- community and in that sense I feel very much connected to La Panadería had the ability to bring together a diversity equally a part of. sians (2008), you are blurring boundaries between reality Mexico City simply because that is where I have friends and of people—it not only brought together everyone from the and fiction by asking actors to use their personal stories colleagues with whom I sustain a dialogue. Plus I like the art world microcosm but also reassembled a broader audi- Class issues, racism, corruption and machoism are recur- within the dramaturgy. What is interesting to you about city so I choose to be here. Regarding the question of the ence. How did you manage to do that? Do you think that ring topics in your work, reflecting social and political this ambiguity? Do you have the conviction that reality gallery, commercial galleries are secondary to me and fortu- today there are any art venues that succeed in doing the issues in Mexico. Do you think you would explore the same often goes beyond fiction? nately my career doesn’t depend as much on having one in same in Mexico City? field of enquiry if you were not born and living in Mexico? I don’t believe that reality surpasses fiction, I guess my point the city where I live. When La Panadería opened, people tended to associate art Class struggles, corruption, machoism and racism are inte- is that our understanding of reality is very limited and it is with a very solemn and stagnant practice that had nothing to gral aspects to modern Western societies. And via colonial- full of clichés and conventions. By blurring these conven- In 1994, you co-founded La Panadería—with artist do with their lives. I think that La Panadería proved that art ism they have become almost universal by now. They are as tional lines through representation we have an opportunity Miguel Calderón in an abandoned bakery (where you can be relevant and speak about issues that concerned us all. relevant in Mexico as they are in France or Israel. Because of to reconsider and come up with more nuanced and complex actually still live and work)—an independent gallery, That automatically broadened art audiences. the globalized nature of art practices in the last ten years or versions of what constitutes reality for us. the first successful alternative venue in Mexico City. Its so, I have produced works in many countries that deal with cutting-edge and non-conventional approach revealed a La Panadería closed in 2002. Why? these issues and I definitely do not associate them with any You are present in most of your pieces, sometimes only new underground scene to the audiences and had a deter- Because by that time the context had changed so much that specific nation state. through your voice addressing the actor while handling minant role in the development of contemporary art in most of the original needs that La Panadería addressed were the camera like an amateur, with a particular visible style Mexico City. It allowed people to look at art differently no longer there and the rules of the game were different. In The definition of a Mexican identity is a frequent theme in (A Propósito… and Oríllese a la Orilla); sometimes physi- and opened doors to spontaneous art practices. I read that other words, to continue to be relevant La Panadería had to many Mexican artists’ work including yours. Why is it so cally your reflection can be seen in a mirror New( Decor) or La Panadería came about as a reaction to the frustration reinvent itself and I think that at the time it closed we didn’t complex to be Mexican? deliberately, you are part of the cast, playing your own role, you and Miguel experienced towards what galleries and have the vision to do it mostly due to the fact that things Identity is a very complex concept and that is why I think as the artist Yoshua Okón (White Russians). Why did you museums could offer at that time in Mexico City. Could were changing incredibly fast and in a very radical way. We that trying to explain it within such a vague and abstract cat- decide to include yourself in your work? you describe the artistic context of that period from your had created a monster! egory as a nation state is a bad start. In other words, I don’t I consider myself to also be a character in the works. It is perspectives as emerging artists? even believe in such a thing as a Mexican identity, let alone important for me that the viewer is very much aware of my When the La Panadería opened, museums and commercial In 2009, you created SOMA in Mexico City, a space com- having that be the theme of my work. role and my presence. galleries were mostly working within La Ruptura’s paradigm. bining an educational program, a residency program for In the late 1950s, some artists reacted very strongly against Mexican and international artists and a forum for artists’ In most of your pieces, you also tackle questions of voy- While most of your pieces are based on performances, muralism basically arguing that art is not a political tool talks, conferences and video projections. It seems that eurism. Can you explain to us your vision and the place of your artwork is almost always delivered to the audience in favoring a much more abstract art form connected to their you have the ambition to make this place like a research voyeurism in Mexican society? Are you directly influenced the form of a video and/or an installation. Why don’t you internal worlds, that was La Ruptura. Growing up in Mex- laboratory, to keep an experimental approach while mak- by the Mexican tabloids and newspapers that appear par- use live performances more often? ico City in the 1980s, thirties years later, this movement’s ing it more established and organized than La Panadería. ticularly gory from our foreign perspective? I consider my work to be a hybrid between performance, influence was absolute and all artists that had been working Why did you choose to create a space dedicated to edu- Voyeurism implies watching without any kind of partici- video and installation. It is a language I have developed in outside of this paradigm were marginalized to the degree cation rather than a gallery or an exhibition space? Was pation and, like I mentioned in an earlier answer, I think which none of the parts work without the others, an integral that my generation had no way of knowing about them this place created because you missed the dynamic of La that our relationship to representation in modern societies whole. (for instance Los Grupos from the 1970s). On top of that, Panadería? What was your original intention? is that of passive consumers, voyeurs. In this sense, my work because of Mexico’s commercially protectionistic policies, it I think that in your well-put question you are already imply- attempts to redefine that relationship by turning us from You spend your time between Los Angeles and Mexico was very hard to have access to information from abroad and ing the answers. Yes, I see SOMA as a continuation of La voyeurs to actors. As for the nature of Mexican tabloids in City. You don’t have a gallery representing you in Mexico. know what our contemporaries were up to elsewhere. Panadería, it is the reinvention that was not possible at the relationship to tabloids elsewhere, I don’t really see a differ- Could you describe your relationship with Mexico today? time La Panadería closed. At that time (2002), there were 212 - 213 already many venues showing contemporary art with a very versations. More than teaching, I’m interested in providing (or from the French colonies or ex-colonies) have the oppor- experimental approach, finding places to show experimental the right environment for dialogue. Art needs a discursive tunity to participate in culture? This is represented in a very and young artists’ work was not a problem anymore. Also, context for it to have any kind of relevance and in this sense exacting way in the movie La Haine, for instance. Art and by then Mexico City had already connected itself to the I see teaching as an extension of my practice. culture are privileged activities and very hard to access by the international scene so it was no longer isolated, information working class. Of course that doesn’t mean that it is impos- was flowing in and out in a very dynamic way. Neverthe- Our immediate impression of the art scene in Mexico City sible for that to happen and I think that it is important for less, throughout the first decade of the twenty-first cen- was a divided one, made of different groups and acquain- institutions to try to make all they can to counterbalance tury, people kept on talking about the independent spaces tances, each “family” being highly critical of the other this fundamentally unfair situation. When students apply to of the 1990s in a nostalgic way, as if something had been ones. Do you know why? From our understanding, after SOMA they have to fill out a questionnaire so that we can lost. It was then that it became clear to me how important a wave of successes starting in the mid 1990s until the determine their economic background and, based on that, the social role of these spaces was (La Panadería was not beginning of 2000, the art scene in Mexico City suffered the amount of their tuition is determined. You pay as much the only one). In other words, they were very instrumental from a slight slowing down from the beginning of the mil- as you can afford so for instance we have some students pay- in creating a sense of scene and a sense of community as lennium up until recently. With the opening of places such ing one hundred percent and others only ten percent. well as in providing a platform for dialogue and discourse. as SOMA and Petra or important galleries like LABOR They provided a context. So even though so many things and Luis Adelantado in the last couple of years, Mexico WWW.YOSHUAOKON.COM had positively changed, in this new globalized and market- City seems to have regained a diversity that was lacking for WWW.SOMAMEXICO.ORG oriented context we were all getting increasingly isolated, a number of years: could you explain what has happened? the sense of community was slowly eroding, we started to I agree that things became mostly stagnant in this period lose agency and began playing under someone else’s rules and I think that has a lot to do with the disappearance of (mostly collectors); we lost the context we had created for independent spaces and the ridiculous belief that the market ourselves and with it the control over our own discourses. place was a self-sufficient system that was going to save us SOMA is an attempt to strengthen the sense of community all. Clearly that is not the case. and to regain our context. How would you describe the new generation of artists in How different is the artistic context today compared to Mexico—the one following yours, born in the late 1970s/ when you opened La Panadería? Are the ambitions and early 1980s. Do you see any clear distinctions between stakes the same? It seems that with La Panadería and their art practices and artists from your generation? Is it SOMA you are claiming the importance of an art space as easier to be an artist today in Mexico now that many Mexi- a social meeting point putting conversation, discourse and can artists are internationally recognized and that founda- sharing at the center of the art community. Do you think tions such as Jumex exist to support contemporary artists? that this is something missing today in Mexico City? I don’t think it is easier but I sense that younger artists think I think I have already answered this at length above but it it is easier. They mostly aspire to be integrated in the global is important to mention that this lack of discourse and an market system. It is a bit sad to see this because I think many over-emphasis in spectacle that I referred to is not unique to younger artists don’t realize how unstable or lacking in self- Mexico City. It is very much a generalized situation in all art sufficiency this system is. Also, I don’t think they realize how centers that I know of. I don’t think it is a coincidence that hard they need to work to become professional artists and spaces with a spirit similar to SOMA have been emerging the fact that they need to develop a discourse beyond pro- throughout the world: in São Paulo, Buenos Aires, San Juan, ducing attractive objects. Los Angeles, New York, etc. … The first thing we couldn’t help noticing when we arrived How do you feel about the state of art education in Mexico? in Mexico is that there is a collision of two societies: the I think it is not very good at undergraduate levels and ter- rich, middle class and the working class. The art commu- rible at graduate levels. nity definitely is aligned with the wealthier side. Do you think this interferes with artistic creativity? Is it possible For several years, you have been a teacher, giving work- for a person coming from the lower class to become an From top to bottom shops in Mexico and abroad. What was the importance of artist in Mexico? For example, at SOMA is it expensive to Lago Bolsena, 2004. 3 channel video installation. 10 minute 17 second loop. Courtesy of the artist. education for you in your development as an artist? Is it take classes there? Do you have a policy for low-income important for you to stay in touch with the younger gen- students, scholarships…etc. White Russians, 2008. 4 channel video installation. 8 minute 51 second loop. eration? Does it ever interfere with your work? Once again I think that what you are describing here is a Courtesy of the artist.

I’m interested in conversations and workshops are a great condition of the modern world and not particular to Mexico. Coyoteria, 2003. Video installation. 22 minute loop. way to give ourselves the space and the time for such con- For instance, how many people from the Parisian banlieue Courtesy Galleria Francesca Kaufmann. 215 - 215

process 216 - 216

As a kid, I used to be completely obsessed with pre-Hispa- Did you leave some others behind for practical/travelling nic civilizations because of the excellent now cult TV car- reasons? REPORT toon called «Les Mystérieuses Cités d’Or» (easy to find on CN: As I said, the plan was not to plan anything in advance. Google). When I was about eight or ten years old in primary It is a difficult exercise because you always have preconceived school, I was asked to make a dossier about the Maya civili- ideas and your actions are always dictated by who you are, By Carmen Cebreros Urzaiz zation. I had so much pleasure in editing that leaflet: I guess your past experiences, the collective imaginary, etc. Also, I we can consider it as my first self-published fanzine! Before am often overcome by the urge to control things, the curio- coming to Mexico, that was my deepest Mexican experience sity to look at things beyond, the anxiety and I have a bad Interview with Peeping Tom up until recently! habit of checking and double-checking things beforehand. Moreover, Stéphane and I had never been to Latin America Despite our appearances, Stéphane and I are quite rigorous before. We were completely clueless when we arrived. Eve- and perfectionist people, almost neurotic maniacs at times. A conversation between Carmen Cebreros Urzaiz and Peeping e-mail we sent to, or received from, Mexico potentially lead rything—by only being in the streets—was just totally new, So this project is coming from a desire to let go, to be free Tom a.k.a. Caroline Niémant and Stéphane Blanc. us to a new structure of the project. feeding and nourishing us daily. and open—at least this is the ultimate ambition. But of Our concept for this publication was never pre-defined—we To go back to art (which is the subject of this publication, course, we are constantly fighting with our characters and We never met Carmen but she was highly recommended are trying to follow an approach that is entirely empirical. if my memory serves me well, right?), we didn’t know much dispositions. We didn’t really manage to let go on the first by our inspired Editor-at-Large Magnolia de la Garza as Nothing is systematic or methodical. A never-ending and except for the muralists and also the «golden generation»1 or second editions, but that’s what we were aiming for in a potential writer for the introduction of this publication. sometimes nerve-breaking story but yet an absorbing one! of Gabriel Orozco, Francis Alÿs, Damián Ortega, Teresa the long run. We contacted Carmen and sent her our media kit, the only Margolles, etc. Most of the publications and exhibitions Stéphane Blanc: Hey! YOU’RE the neurotic maniac. But document we had at that time to describe this second issue What was the main reason that led you to investigate the we saw abroad (I mean outside of Mexico) in recent years it’s true that when we do something we try to do it the best (#2), asking her to write a statement depicting the Mexican Mexican art scene or what triggered this interest? were always showing the same twenty artists and that’s all we can, otherwise we don’t do it. So yes, we didn’t let go art scene from a historical, sociological and critical perspec- CN: For many years, thanks to friends visiting Mexico we we knew. We couldn’t believe that there wasn’t anything so much because we hate to feel that we should have done tive. She responded to us with a list of questions, which led heard about several thrilling projects coming out of Mexico beyond these twenty guys so that’s why we thought it would this or that, that we missed something, etc. Which is very to the following conversation (conducted in May 2010 while but we never thought of going there. There are too many be pertinent to go there and try to look for something else, frustrating because…anyway, at the end, we always think we were still working on the publication) that replaced her places we want to go to in the world (all of them, actually): we which we didn’t really succeed in at the end, I think. (See my we could have done more or better. But in the process we originally planned formal statement. always need a click to choose a destination. We don’t select a responses further along in the interview.) managed to let go, we really didn’t pre-determine what this country or a city because of its relevance or, to the contrary, issue (#2) would be: we just met people and played it out. Carmen Cebreros Urzaiz is an independent curator and its lack of visibility in the art world, but for personal reasons. Did you perceive that this list of twenty artists was also CN: We are not intellectuals so this empirical method is writer based in Mexico City and a graduate from the cura- For Mexico, the trigger came from a stupid anecdote: surfing referential/recurring for the people you approached in actually quite practical and convenient! To make some deep torial program at Goldsmiths College, London. She is the the net, we saw by chance a video depicting Fashion Week Mexico? research beforehand and then establish theories seems very curatorial coordinator of the second edition of the program in Mexico City. Even if the whole film was really frivolous, CN: These twenty artists were mentioned to us countless awkward, unnatural to us. We like to experience things. I Bancomer-MACG. Arte Actual. She teaches at the Natio- the energy coming from the people interviewed (teenagers times during our stay. I think most of the people we met couldn’t image ourselves talking about something we didn’t nal School of Painting, Sculpture and Printing in Mexico for the most part) was really new to us: straightforward, full referred to them at some point. It seemed difficult even for experience directly. City and is a regular contributor to different publications of of humor and very intellectually attractive. So our first desire Mexicans to move away from this list. SB: We really believe in instinct. And I think when you art and culture in Mexico. was to go to Mexico and meet people and not necessarily to Regarding the second part of your question, we encountered undertake a tedious, intensive project, it turns into something focus on the contemporary art scene. This could have been many responses towards this quite heavy heritage: idolatry, boring and people (readers) sense that. CARMEN CEBREROS URZAIZ: In Peeping Tom’s a tourist trip—we decided on this destination like anyone source of influence, profound gratitude but also irritation, CN: So going back to your question, we tried not to do any media kit you sort of compare the Berlin and Mexican art might choose their next vacation. Nothing more. jealousy or just plain boredom. I personally think that the research before coming or while we were in Mexico or even scenes, and consider the Mexican “more limited and more At that point Peeping Tom’s Digest #1/ Berlin was not out feedback really depends on the person, their own confidence when we got back to Paris. We tried to only follow the word accessible” than the former. yet and we had nothing in mind for the second edition. We in what they do. But for the majority of people we approa- of mouth and see where it would lead us. Oaxaca and Gua- Caroline Niémant: Do not trust media kits!!! Ha! The docu- took this publication as an excuse to go to Mexico. Actually, ched, these figures are important references and they opened dalajara were suggested by people we met in Mexico City, ment we sent you is meant to chase after potential adverti- to be honest, Peeping Tom’s Digest is a total pretext to tra- the way for many artists. My understanding is that these otherwise we would never have gone to those cities. We also sers, partners and sponsors. The tone is really commercial, vel. Travelling and encountering different cultures is actually artists generated a fresh, modern and international perspec- wanted to go to Monterrey because it was recommended, the content is vulgarly summarized and the discourse is more important to us than the contemporary art world. I tive on the Mexican scene, going away from the traditiona- but we didn’t have enough time. To go back to life again, totally Manichaean at times! guess art comes in at second place in our biorhythms (set lism and exoticism of how Mexican art was perceived before. for tourist purposes we also wanted to travel to Chiapas, Even more so, because we wrote this media kit at an aside love, friendship and all life’s Dionysiac pleasures of However, even if these twenty references deserved to be on Acapulco and northern Mexico: the list is endless and our embryonic stage of the project: many things are totally obso- course). Peeping Tom’s Digest is the best solution that we’ve the A list and had an undeniable influence on many younger frustration towards the end of our trip was pushed to the lete now since the concept of this publication evolves every found to combine these two passions. artists, I think the new generation is eager to take turns. maximum. day, according to the contributors’ responses. We proposed SB: We knew from the start we were not limited to Mexico many “cartes blanches” to the writers (regarding the number What was your familiarity with the Mexican art scene Did you think about focusing on Mexico City and then City, but we would have stayed there the whole time if we of words, shape of the article, etc.) and we remained open before your two-month residency? branch out to other cities (Oaxaca and Guadalajara)? Or, hadn’t been pointed in other directions.2 to their suggestions regarding the content. Each day, every CN: Almost close to zero. from the beginning did you think about these three cities? 218 - 219

Name four “highlights” in Mexican art/culture that you CN: By accessible, we meant that it was really easy for us What links did you map out between Mexico City, Oaxaca myself saying: «I am a curator and publisher» (often for the found interesting or were curious about, before your actual to meet people, way more than in Berlin. When writing an and Guadalajara? sake of being quickly understood by people), I am aware this trip and immersion? e-mail to any given Mexican artist in order to meet them for CN: We felt a strong connection between Guadalajara and is an imposture. CN: Perros Negros (Adriana Lara and Fernando Mesta), the first time, we almost always got an immediate and enthu- Mexico City, whereas Oaxaca seemed a bit more isolated. Nuevos Ricos, Yoshua Okón…ya basta! That’s it. I can’t even siastic response. That’s what I love about Mexicans—their Guadalajara appeared more open on a national and interna- How did you plan to explore the Mexican art scene before give you a fourth reference. positive energy and motivation is really contagious. Berlin tional scale. However, we only spent a little time in Oaxaca you received the chain of recommendations from the seemed to me a bit blasé, probably because it is too soli- so it is not really fair to make a judgment. From what we saw, people you were approaching? Did you expect to follow When you say that the Mexican art scene is more limited cited. Or maybe the problem was coming from us, I don’t artists living in Guadalajara are travelling a lot in Mexico the word-of-mouth method before getting in contact with compared to Berlin, the city that the first issue of Peeping know. The responsibility is generally shared by both parties, and more importantly abroad. The art venues in Guadala- the people? Tom focused on, what particular aspects did you observe? I think. Our experience of a scene is also highly influenced jara are not only promoting local artists (and they are very CN: That is the main difference with our experience of CN: What I meant by limited is just a matter of quantity by our mood at a particular time. dedicated to it) but also international ones. Whereas Oaxaca Berlin. In Berlin, we stayed three months and met very few of course, I hope that was clear. Berlin has 300 galleries and SB: I also think that Mexico was much more immersive seemed to us more local. people. That’s why we initiated the chain letter. People didn’t is the city of residency (permanent or temporary) for thou- because of the distance from Paris: it was very difficult to In general, we got the impression that it is an absolute neces- really open up to us or recommend each other. We had to sands of artists. In Mexico City, I think you can divide eve- work on something else from there and have connections sity for Mexican artists to travel. A need to escape from the force their sense of solidarity. rything by ten so these scenes are difficult to compare. with France so we were 100 percent into it. art world microcosm, maybe. In Mexico, meeting people was the easiest thing. Most I also think it is really risky to attribute any particular condi- CN: Also, I think we were at a more confident stage in But this is really a first impression. We can’t pretend we people were very generous, sharing their contacts. tion, to make any generalization. A scene is really complex Mexico because we already had the first issue in our hands know much about anything! What can you get from only For example, Patrick Charpenel (along with Mariana Mun- to describe especially from our experiences, which are quite and it conditioned the way we approached people and how a two-month experience without any preparation? That guía and Cynthia Gutiérrez) who had never heard of us superficial and very subjective. Also because we are pretty they responded to it. But I am personally persuaded that the pretty much sums up the original question of this project. before entirely organized our Guadalajara trip giving us sure that the people we met in Mexico belong to a niche task was also made easier thanks to a cultural distinction: the But we have to be modest and admit that our results were access to everyone there. Alejandro Almanza spontaneously (friends of friends of friends…) and are not representative. Mexicans are really warm and friendly people, this cliché is very limited. gave us a list of four or five fellow artists for us to look into, SB: We also had very different experiences and approaches undeniably true to me. For example, it was hard for us to go away from the beaten etc. Magnolia de la Garza helped us countless times with her in Berlin and Mexico so comparisons are very difficult. Regarding the travelling issue, Mexico City was very tiring paths. Originally, we wanted to make discoveries, to promote welcomed advice. And we encountered many situations like CN: But if you want me to fall into the unavoidable trap of from our sensitive, sissy European perspective (busy, noisy, less visible artists but we were absorbed. Famous people these (the apotheosis being Emmanuel Picault, the French comparative clichés, here are few remarks. the pollution, the height, traffic jams around the clock and were more easily introduced to us, it was not easy to get new antiquarian, who organized a despedida (farewell party) for us The first obvious difference lies in the fact that most of the also the mezcal and the wild night life. Pfff…man…what a names (except at the end of our trip especially thanks to even though we had only met him a couple of weeks before). people we approached in Mexico were Mexican while Berlin tough existence!). Escaping from the city was essential for Ruth Estévez and Kerstin Erdmann who both gave us lists We tried to meet every person that we were told to meet. is of course way more cosmopolitan. Another prosaic obser- our health but not easy. We were completely absorbed by with dozens of young artists). Even if young and unknown We e-mailed almost every one (time was our only limita- vation could be that the fragment of the art community we Mexico City, it ripped away at the list of things to see and artists were the original focus, we couldn’t say “this artist is tion). We didn’t want to make a selection beforehand. Most got to know is from the upper class while in Berlin most people to meet. I felt we were in Shanghai Express at times! too famous, let’s put him aside.” We loved people and were of the time, we were meeting people without knowing who artists we met were totally broke—often one of the reasons Do you know that TV series? touched by their artwork and personalities independently of they were or what they were doing. That was a good thing they chose Berlin as their city of residency. A Mexican parti- SB: Pekin Express not Shanghai Express (oh my god…what their notoriety. Also, I feel we don’t have any legitimacy to actually: that way, we had really fresh eyes and didn’t adjust cularity that we enjoyed very much is that the art community a reference). respond to your question: we can’t pretend we were making a our behavior according to people’s fame or reputation, etc. acts like a nice dysfunctional family. Everyone knows each CN: It was difficult to fit in going to Guadalajara and Oaxaca sociological or anthropological investigation. The methodology of exploring the scene through word of other quite well having a personal history with everyone but greatly rewarding. I wish we could have stayed longer SB: It was a bit surprising to see that every time we asked mouth was not a deliberate decision but simply imposed on whereas Berlin seemed more diverse and individualistic. in both cities (only a few days in each). Our vision is now for names of young artists or simply some places/galleries us. The chain just developed organically thanks to everyone’s We also can’t deny that Mexican artists and art agents too shallow, especially regarding Oaxaca where we caught to eventually find some, it was hard for people to answer. sense of sharing (despite the fact that everyone in Mexico appeared to us to be highly educated and cultured, very a tropical flu and couldn’t focus anymore. These scenes are Sometimes they even said that they would love to know claims that the scene is full of competition and rivalries). grounded, straightforward, aware of the rest of the world really essential to put Mexico City into perspective and some but they didn’t know how to go about finding them. I am sure the recommendation process is the method most and of themselves: they seem to be very proud of their Mexi- deserved more attention. I regret we didn’t dedicate more CN: We wanted to get into the Mexican culture as much publications or projects follow if they have a particular can cultural patrimony but also highly critical of it (on the time to them especially because it is a recurring limitation: as our subject—the art world. So we took the time to live, unknown territory to explore. Usually magazines don’t reveal contrary, Berliners LOVE Berlin and sometimes I felt we art professional visitors mostly focus on Mexico City. I hate to spend a lot of time with people, to drink with them, to the process of their research and just propose their selection. were in a sect or some sort of hippy camp…). the idea that we fell into that stereotype. get to know them as much as possible. I think we can only For us, the process is one of the most interesting parts and The final, but very important point: whereas Mexicans are SB: There is a strange thing too: many people in Mexico claim a tourist and amateur position. And this is the case for became the core of the publication. really professional, dedicated and hard workers, they always City told us to go to Guadalajara but also said that a couple all our projects actually. We are very intuitive and humble Through Peeping Tom’s Digest, we not only want to share take time to enjoy life. The perfect equilibrium for me in a of days would be enough to see everything. We didn’t really about our knowledge. These are weaknesses and a source of our discoveries but also our impressions of the scene. The collaboration. know what to expect before going, but once we arrived we suffocating shame at times but also our strengths. This book structure of the magazine reflects our methodology and it is quickly discovered that we wouldn’t have sufficient time won’t be a proper «contemporary art publication» as it says in a statement regarding our perception of the scene. When you say Mexico is more accessible, how does the there. Maybe it’s the same Paris/Province dichotomy that we the media kit. Ha! This is neither theoretical, nor historical. Also, we always like to make the behind the scene stories travelling factor (moving between three different cities) fit have in France: from the capital, people have the feeling that I think our work methodology is more similar to the one of visible. This is a recurring topic in our past exhibitions and into this criteria? not many things happen outside it. an artist than the one of a journalist or editor. When I hear publications. It comes from a desire to descralize art projects, 220 - 221 to be on the same level as the reader. We have the utopian ting names on the tree—we’re preoccupied that some people quite exaggerated but very endearing also in a way. people we «artistically « trusted very much told us he was idea to reach a large audience, people who are not necessarily might see some sort of betrayal of trust they vested in us. Also our first aim was to find young and upcoming artists. To THE person who could introduce us to a more confidential initiated to the contemporary arts. But we know that this Most of the recommendations were made “off the record.” give visibility to people that didn’t have enough of it: that’s scene. He was a floating ghost in my head during this trip goal was not totally achieved and that we are still addressing You might say: In Mexico we didn’t know yet that we were why museums and State institutions were not necessarily our and he had to be in the publication. a niche (our parents still don’t understand anything about going to establish this genealogy, so people didn’t know that focus/priority. But in the end, you can’t imagine how incomplete this publi- what we do…merciless proof ). we might reveal the list of people they recommended. SB: Most of the time, contemporary art museums were cation is. There are so many names that remain unclear to us. SB: Art is about emotions, and it’s always frustrating to But Adriana Lara was one of the most important initial empty, so I have the feeling that the State pays little atten- My notebook is crammed full of names of people we didn’t encounter incomprehension or even hate towards contem- links. She was recommended by many friends (Gloria Pede- tion to what happens in the less popular places. That’s a have a chance to meet/investigate. At some point, we just porary art. When you have emotions you want to share monte, Eva Svennung, Simone Gilges, Thibault Pradet, etc.) vicious circle. So I guess institutions can be compelling only had to stop looking at work, it was an endless quest. them and it’s sad when you can’t. This idea to reach a large and she introduced us to many people. if the people who manage them are inspired and dedicated to Maybe some day we will consider spending several years in audience with such a publication is unfortunately idealistic: SB: However, we only met her once! And only at the very doing something with them. Also, jobs in contemporary art one city before talking about it. Paris—our home—might be we should maybe teach in art schools if we want to achieve end of our trip. Although we did e-mailed each other several are few and far between in Mexico: so I can imagine people yet another quest in the future. that. But we try anyway by making things rich and interes- times before coming to Mexico. can be indifferent when working in private or the public ting, but also fun, accessible and unpretentious. domains depending on the project, opportunity or autonomy In your edition you are including galleries, alternative CN: I think Stéphane and I are very simple people (or at In the media kit you spoke about the initiatives of different they have. But maybe I’m totally wrong.4 spaces and projects, artists as individuals, private collec- least that’s what we are aiming to be). Telling the story of actors within the art world: collectors, gallerists, curators tions, promoters, but neither museums nor art schools, our trip in a straightforward manner was simply the most who have contributed to the legitimacy and growth of this Were you interested in art schools or was your perception that which would constitute the public/State-driven agents natural way for us. scene. But what was your approach to institutions? they were irrelevant to the actual artistic practice in Mexico? in art. Is this because the initiatives you found interesting I have to say that we fell in love with Mexico and many of its CN: We can’t pretend about any level of expertise with CN: Originally, we were interested. We asked around but happened to be private or because you deliberately decided people. This was not something we expected. And at the end, regard to that (or on anything, for that matter). We focused only got very few contacts—Mexicans themselves were not to focus on the private ones? it became so personal that the publication couldn’t avoid/ on private initiatives because people took us in that direc- really enthusiastic, most of them said they were disillusioned CN: They just happened to be private, indeed: no conscious discard this personal aspect. When returning to Paris, all we tion. We went to public institutions and museums, saw some by the educational system. decision was made in that process. wanted was simply to make a travel diary, but I find travel amazing and challenging exhibitions, but we never really We only visited one school—AAVI—and the director Omar Also, to me museums all around the world are the same. diaries quite embarassing. We are just hoping this publica- met anyone, personally, during those encounters. Had we, Gámez kindly spread an open call for us. For the rest, some I love museums but I couldn’t put my heart and soul into tion will be more interesting than a holiday slide show! the more likely the chances would have been for getting of our requests fell upon deaf ears. For others we couldn’t it, I mean for the purpose of this publication. The museum Unfortunately, we were unable to include everything in this them into the publication. We’re not afraid to say that this is find the contact information; neither of us understand Spa- experience is too distant for me, a disembodied machine. It publication that we saw or heard about—about 500 refe- a super subjective publication. nish so that was against us. All in all, quite tedious. is difficult for me to relate, especially for a project like this. rences at the end—obviously, because of some logistic and Our impression regarding the public/private issue was that Seeing students’ work was something we were really eager to SB: Well, I personally love museums and the impersona- financial issues. But we wanted at least to re-enact some of the energy primarily comes from the private side and that the look into before we arrived but we were quickly overwhel- lity of their spaces, especially when they are empty like in the conversations that we had with people. That’s one of the public domain is trying to pick up and is slowly and finally med by the amount of artists we were told to meet so we Mexico. I really love the feeling of being alone with the reasons why we chose to call upon the people we met and succeeding in doing so, after years of being off/outdated. didn’t delve into it deep enough. artworks, staying as long as you want, no one noticing you let them talk, describe each other. Another motive why this Also, the relationship between art agents and the State seems I actually have a list of more than ten schools I was supposed standing there. It’s like a refuge where nothing can happen publication is mostly interview-based is that, during this quite unstable. We heard so many stories about the corrup- to send an open call to. But when we came back to Paris, we to you and you’re totally isolated from the outside, comple- trip, we talked and listened far more than we actually saw tion, untruthful relationships, public money that disappears, had so many things we wanted to talk about that we had to tely absorbed by your feelings, being alive. This has nothing artworks. Conversation and discourse were the center pieces etc. Many people we met were reluctant to work for public forget that. to do with our subject, completely useless digressions. I just in this experience. We can’t deny that Mexican people can’t institutions: too limited, too shabby, too unclear. Also the Also, when back in Paris, we felt it was unnecessary, not wanted to say that I disagree with Caroline. avoid talking about each other. So that’s exactly what we income allotted to the employees in public institutions is coherent to the concept to make extensive investigations. CN: You didn’t understand me. I love being in museums too! proposed, we wanted them to describe each other. just plain ridiculous. I can’t prove this but we heard that a We weren’t very enthusiastic about looking at things in a I’m just not concerned about museums only in the context For an upcoming issue, if we don’t see or hear anything we museum curator’s salary is barely above minimum wage… computer: they had little or no charm compared to looking of this publication where we had to relate to people. And a feel a connection to, we’ve considered producing a blank Mexican minimum wage!3 at the work and meeting the people in person. We decided museum is rarely identified with specific persons. slate. A publication with 300 blank pages, that would be fun, But to tell you the truth, I don’t know how much is part of the investigation should end when we left Mexico. SB: Ah, ok. Also, museums are very internationally driven I rather like the idea. That’s something we should definitely the Mexican «self-mythology» or fantasy: we sometimes felt In the publication, Marcela Armas, Ricardo Alzati, Begoña and we were looking specifically for Mexican artists. consider. Each issue will be different according to our expe- that Mexicans like to make things sound worst than what Morales, Abraham Cruzvillegas, Guillermo Santamarina, CN: Moreover, those guys, institutions, don’t need us. They rience. God forbid that something be systematic. The for- they really are. A very simple example: in restaurants, the among others, are people who we did not have the opportu- have enough promotion.5 mat, number of pages, shape and structure should depend on waiters often warned us to be careful because the food was nity to meet. Nevertheless, they were selected mostly because what we find…or don’t find. very spicy. Clearly a matter of taste, it generally wasn’t. I think some people managed to convince us about their relevance Did you also find the initiatives within the public/State- some Mexicans think they have a bad reputation abroad and and importance in the arts scene. So we trusted our sources, driven agents that you might mention interesting? Who were your initial contacts? they want to make sure that you know that they are aware of contacted these artists by e-mail, looked at their work closely CN: Sala de Arte Siqueiros, MUAC and the Museo Tamayo. CN: You should be able to find all this information in the it. That’s to me why we so often heard from Mexicans about and that’s how they came to be included in the publication. But we never considered talking about them for the reasons genealogical tree reproduced on a poster inside the book. the corruption, the police unreliability, the insecurity, among Abraham Cruzvillegas for example seems like the missing mentioned above. For the moment we are not 100 percent sure about prin- other gripes. Which is not a myth but a reality. I find this link of our trip. Fernando Mesta and Patrick Charpenel, two SB: We didn’t consider talking about them as institutions, 222 - 223

which the principle of the National shelters. (…)”* 2 Tijuana and Monterrey have strong art scenes as well, but obviously the *Reyes Palma, Francisco (1999). “Treinta siglos + X = México Eterno” in but they are part of our experience: they will be mentioned in 1 What is clear is a political trend to produce “combo” cultural exports, distance from Mexico City is greater. CURARE, No. 14, Mexico, January-June 1999: p. 16 (translated by Carmen the genealogical tree—if we publish it—and several contri- which—I hypothetically reckon—had led to a cultural request of this type Cebreros) butors in this publication work in those museums: Magnolia of combos and furthermore, a combo reading; sometimes updated to the 3 Minimum wage in Mexico is something around 100 euros per month. de la Garza, Daniela Pérez, Ruth Estévez, Kerstin Erdmann, current affairs, sometimes preserving the claim of this “infinite” greatness. The salary of a curator in a museum or institution supported by the State **Expressed by Sari Bermúdez, then president of the National Arts and Guillermo Santamarina, among others. 1 During the 1990s, people in Mexico faced the schizophrenic contradic- is on average seven times the minimum wage, still not enough for a Culture Council in an interview. http://www.youtube.com/watch?v=ohghon tions and inequities that the Salinas political agenda had aroused, and living. QMSUk&feature=player_embedded After your experiences exploring Berlin’s art scene, did you that the subsequent economical crisis provoked by the impossibility to find patterns or differences with respect to what is going sustain his masquerade, plus a series of incompetent decisions of the 4 This is true. As an art professional you jump from project to project, on in Mexico? new government. Yet NAFTA activated the mobility of people, goods and do freelance, teaching and multitasking, and work on as many projects *** López Cuenca, Alberto (2005). “El desarraigo como virtud: México information, this is undeniable, and it unleashed new dynamics. These as you can manage at once. It is becoming more professionalized, and y la deslocalización del arte en los años 90” in Revista de Occidente, No. CN: I can’t really compare the two because Berlin doesn’t shifts and burdens, the fast triumph and decay of “Mexican modernity” more and more people within the contemporary art scene in Mexico hold 285, February 2005 (translated by Carmen Cebreros). Consulted from: have a face to me. Berlin is a melting pot and a place of tran- and the return to the public arena of historical unsolved problems, a degree from a foreign institution. Even if degrees in fine arts are not http://www.revistasculturales.com/articulos/imprimir/97/revista-de-occi- sit. Everyone belongs there. It is clearer to define a Mexican became an inexhaustible subject matter for wit and artistic comment. a concern in Mexico, artists’ involvement in shows and projects in loca- dente/260/el-desarraigo-como-virtud-mexico-y-la-deslocalizacion-del-arte- identity: its scene is more restricted, more Mexican and see- 1 Later in 2005, Mexico was the guest country at the ARCO Art Fair in tions outside the country is almost a requirement for local legitimacy en-los-anos-90.html med more coherent to me. Madrid, and Mexican participation in this event was enormously sup- and recognition. Berlin is also far more commercial. It looks like Chelsea in ported by public funds. Seventeen galleries and 250 artists (in kind or in New York to me. Even squats are commercially exploited! person, dead or alive Frida Kahlo’s Two Fridas was the highlight of the 5 I slightly disagree. It is true that big museums focus on international Whereas in Mexico City, it seems there is still a place for art fair) from the country travelled to Madrid.** It is important to mention exhibitions, but there are also initiatives to include the national, local and alternatives places.6 But you know how non-objective I can that this happened in the context of the first case of political alterna- emerging generations. I am familiar with one of these examples, which be. I personally enjoyed Mexico way, way more than Berlin. tion in the Mexican presidency after seventy-two years of being ruled is a linked program between a public museum (Museo Carrillo Gil) and My vision of the world is quite binary and often deserves by the same political party. Globalization was Vicente Fox’s program, a private foundation (Fundación BBVA Bancomer) supporting research and contemporary art seemed to be a terrain of novelty, which he could and production of emerging artists. I think there is a strong attempt to some nuances. grasp. Let’s remember the number of concessions in Mexico that Fox “dynamize” the scene coming from particular individuals in institutions, SB: Oh god…as always, I might actually be more “nuanced” granted to Spanish companies. Even if this support was again due to the and also allowed by the size of the art community. Promotion of public than Caroline, but I have to agree. public dividends, the event could stimulate the economic agenda, it also museums is a major issue in Mexico, which is why you found them provoked a huge visibility towards Mexican contemporary production. empty. Mexican museums operate in between the grandiloquent official Footnotes by Carmen Cebreros Urzaiz. 1 As I started to mention, the government projects had capitalized on the propagandistic initiatives I have mentioned previously, which constantly initiatives of art communities, when the political occasion had demanded make the future of these precincts uncertain. 1 In an attempt to make a case study from Peeping Tom’s remark, and it and when it seemed “fashionable”—thus useful—and abandoned 1 Now we are living the most retreating of cultural proposals, moving without analyzing individual examples, I would say that art in Mexico them with the same velocity, instead of building long-term programs backwards to an ambiguous yet recalcitrant nationalism again. The has had now— long after the revolutionary period “officially” ended in in which education, culture and art were at the core. This means that State’s program named Bicentenario, which basically consist in the 1917—a history of exploitation, support and abandonment from the side contemporary art in Mexico has reacted and responded to these tugs, imposition of a generalized compulsory festive spirit in the shape of an of the government(s), who had paid attention to culture mainly in terms of by suddenly acquiring visibility and infrastructure towards “the outside” all-media publicity campaign (it is unclear exactly what is culturally offe- its capitalization for diplomatic and propagandistic purposes. and then the subsequent removal of it. The source of a more sustained red and associated with it), celebrating the beginning—not their end—of 1 In 1994, the North America Free Trade Agreement (NAFTA) was signed by stability has come from the global art system, the global art market and the two most devastating civil wars in Mexico: the war of Independence Canada, the United States and Mexico. This was the main political project its regular demands of otherness. Alberto López Cuenca wrote in 2005: and the Revolution, started in 1810 and 1910 respectively. The budget of the Carlos Salinas government. In order to succeed and persuade the “Currently the artists work in a format that allows them to respond to for this generalized commemoration has been siphoned off the resources other two States that Mexico was a profitable land with a high potential requests coming from Austin, Castellon or São Paulo. Artists function destined to art and culture. Museums’ budgets, in themselves ridicu- for commerce, Salinas put a lot of effort—during his six-year term as as assembly plants, assembling materials and images that come from lous, were reduced even more. Their daily operations are subjected to president—into constructing an image about the historical greatness alien realities (…), which are sold in the wealthy American or European an unbelievable chain of bureaucracy, but high quality exhibitions keep (and richness) of Mexican culture, and the country’s sudden leap from market.”*** being produced and presented. Cultural policies in Mexico seem to be “third-worldness” into modernity. A travelling exhibition, Mexico: Splen- 1 Therefore, the younger generation of artists deal with the history of extinguishing museums and vanishing their collections. I think there is a dors of Thirty Centuries—presented first at the Metropolitan Museum of expansions and contractions that has also impacted artistic concerns, huge difference regarding France. Art in New York—accompanied this political project along with the crea- not only in practical terms but also symbolically (in some cases to fully tion of a number of institutions to promote Mexican culture abroad, such refuse that history). If artistic relevance is not at all a product of the 6 Some recent projects of this nature include Casino Metropolitano, Cen- as cultural institutes of Mexico in different cities that were responsible for political agendas briefly reviewed here, the burden of constantly posi- tro Cultural Border, Alterna y Corriente, Petra, La Galería de Comercio, the exportation of this image. tioning “what-is-Mexican” cannot be denied or overlooked. It is a matter and SOMA which is not an exhibition space, but an alternative academic 1 This model of a monographic and summarizing exhibition about Mexican of configurations that become filters for further appreciation of cultural project that has rapidly positioned itself as a platform for networking and prominence wasn’t new. As the historian Francisco Reyes Palma wrote production. At the same time it is important to observe a contradiction in dialogue, unique in Mexico City. regarding this repetitive type of show—in 1940, Twenty Centuries of this approach, since most of the acclamation (let’s say of what has been Mexican Art was presented in New York; in 1962, in Paris, Twenty-five named as the list of the same twenty artists) is the result of strategies Centuries of Mexican Art; and then finally, the most ambitious Splendors of mobility and displacement, thus of removal from the local. Besides of Thirty Centuries in 1990—“(…) Mexico only requires a period of sixty the idea of “inside/outside” (with regards to a nation) is not very current years to settle into infinity. (…) It is time to acknowledge the implicit cost in artistic terms anymore, since the contemporary art world operates of such a trans-secular vision, a kind of time’s synthetic monstrosity in nowadays as fluxes overcoming geographies. 224 - 224 225 - 225

DEADLINE: MARCH 15th (but the earlier, the better of course...)

TOOL #1 and MANY THANKS in advance for playing the game! All the very best,

Caroline & Stéphane De: Peeping Tom Objet: Mrs So-and-So NB11: This “genealogy” of recommendations is not meant to pinpoint who recommended what or - more difficult Date: 10 octobre 2009 17:46:58 HAEC to assume! - who didn’t. It only follows our subjective path of encounters and discoveries. For that matter, if you À: undisclosed recipient verbally recommended us someone or something that we knew before it won’t appear in our publication as your recommendation. We decided this method also because it is absolutely impossible to keep track of all the addi- Dear X, tional quotes -unless there were made by email. It will be clearly stated in the publication that only the first verbal recommendation is represented. As a consequence, this guideline will protect everyone from people who could We are Stéphane Blanc and Caroline Niémant part of the collective of curators and publishers Peeping Tom: get upset for not being mentioned to us. www.peepingtomgalerie.com. We are in Mexico to scout the art scene in order to make a publication (Peeping Difficult to explain ...does it make any sense? Tom’s Digest #2 - the first issue being dedicated to Berlin). Mrs So-and-So suggested that we should meet and Questions/remarks are welcome. see your work. We are in el Centro Historico. Let us know if you have some time to spare. Peace

Thanks in advance and looking forward to meet you! NB22: (sent later on) All the best, Another precision as it seems our guidelines were unclear. We are asking you to give us ONE RESPONSE FOR EACH artist or place you recommended (if you counseled Caroline & Stéphane us more that one person or place of course...) individual responses for each of them instead of a general statement justifying your choices. Every response will be published independently. Please get back to us if you need any additional explanation. We apologize for this confusion and hope we won’t lose some of you along the way! Thank you in advance

TOOL #2 / Source Footnotes by the editors.

1 We decided not to make the names of the individuals visible in the genealogy tree, in order to avoid any friction between people (as mentioned in the introduction). De: Peeping Tom Objet: Mexico Genealogy 2 Perhaps as a result of the fact that chaotic and confusing messages are Peeping Tom’s signature, we weren’t fully understood by some people and didn’t Date: 29 avril 2010 09:36:18 HAEC receive the types of answers we had hoped for. As a result, we couldn’t include them within the main editorial content, but had to regroup them in the section À: undisclosed recipients that follows.

Dear ….., 2 For these two reasons, we had to give up our fantastic yet ambitious idea of indexing all the names of the people/places that were suggested to us (more than 500 names in total) –– and the publication didn’t take the shape of a directory/phone book/dictionary as originally planned. Maybe we just sat on a We finally determined the structure of Peeping Tom’s Digest #2 / Mexico. nice conceptual project (throwing into the garbage dozens of boards, complicated calculations, countless headaches and matrimonial crises in the process) for the sake of being too cautious?

In the vein of our empirical approach, we will create a directory regrouping all the discoveries we made during 2 Following the NASA-like complexity the chain letter system that we used for issue #1, we are delighted to confirm that endless doubts and failures remain, our visit, in order to reflect the results of our experiment. We are writing to you because we are asking every for better and for worse, part of this experimental publication. person who recommended us some artists (or spaces, initiatives, personalities from the art world...etc) to give us the reasons of their choices: his (her/its) pertinence within the mexican art scene (critical, historical analysis…) 2 Good luck understanding this “conclusion.” or more prosaic, poetic, anecdotic or personal motives, the approach to this question is free. The answer can take the shape of a text (one word, one paragraph, a double spread...the number of signs being open) or an 2 Our very best, image (photograph, drawing...etc. Hi-res Jpeg, 300 DPI)...we would like to give everyone a total “carte blanche”. These possible and subjective definitions - to be published in Peeping Tom’s Digest #2 / Mexico - will allow us to 2 Peeping Tom team describe the scene from an insider perspective. If possible this answer should be in ENGLISH (to avoid endless and expensive translation). However, since we don’t want to sacrifice the texts quality, mother tongue is also accepted. We are looking forward to read your responses! 226 - 226

David Lida boutique in Mexico City called Clínica. My friend David is a writer from It’s now located on Colima 33 in the New York who lived for several years Roma neighborhood. I love the things TOOL #2 / Outcome in Mexico City. I like the two books they do and their drive and energy— he has written about the city and also also because they had undertaken the enjoy his blog where he posts stories endeavor at a time when there was the types of works that inspired me to José Luis Cortes and photos of daily urban life that nothing like it in the city. I believe they talk about them. are often ironic and humorous. Quite have inspired a whole crowd of younger Adriana interestingly, apart from his work as designers, who are now establishing an Lara Jorge Sosa writer, he is helping with mitigation evolving fashion scene in the city. for Mexican citizens that are facing the (1978, Mexico City - MX) / Artist / Represented by Gaga death penalty in US prisons. 1 Arte Contemporáneo / Member of Perros Negros / Publisher of Pazmaker / Member of music band davidlida.com Lasser Moderna / Based in Mexico City / www.perrosnegros.info / www.myspace.com/lassermoderna Dark Tranquillity, 2009. Site intervention: three work areas with one wall of each covered in a different colored cardboard. Neon cardboard and glue (drawing and painting workshop in green). Art Department at the Universidad de Guanajuato www.clinicastore.com (MX). Denise Marchebout Miguel Monroy 2 Two days after meeting Enrique Gon- zales, she came into the same hair salon where I was just getting a hair- One Hundred Spots (New System of the Social cut, which I found a bit embarrassing. Movement Philosophy N°. 2), 2010. Long, collaps- Afterwards Enrique came by, she was ible canes for the sight-impaired, used bricks and introduced as his partner of the fashion rug. 140 x 90 x 65 cm. Mexico City. boutique Clínica; the circle had been completed. The three of us became Helena Fernández-Cavada close friends and for the next two 3 years we hung out together continu- ously. I was amazed how their small Julian Lede (AKA Silverio) boutique impacted fashion, especially Together with Julian and Carlos Amo- the younger generation. She’s also the S/T from the book La Sexta Hora, 2010. Ink on rales, we ran the record label Nuevos only young woman that I know who paper. 30 x 65 cm. Ricos for a couple of years in Mexico can wear ANYTHING, and with such You can view a full-size version of this image at: wwww.peepingtomgalerie.com/digest/mexico/outcome City. Julian played in the legendary an attitude. It doesn’t matter if it looks band named Alfombrator, then joined like a kid’s birthday cake with sprin- Begoña Morales forces with some pals for the even more kles on top, crocodile-patterned icing Work Benches, 2008. Wood and steel. 2.7 x 2.7 legendary group Titán. For the Gran in neon colors, and garnished with Alejandro x 0.8 m. Crescendo Imperiale, “His Majesty,” confetti, streamers and pyrotechnic Almanza gave birth to “Silverio” in his home- devices. And she can walk up the “Pico Pereda town Chimpancingo, Guerrero. There 4 © Beatriz Elena and Nuevos Ricos de Orizaba” wearing eight-inch heels. André are three images that characterize Sil- www.nuevosricos.com This is reflected in all her designs, from (1977, Mexico City - MX) / Artist / Based in Mexico City and verio in his totality: self-portrait for www.myspace.com/silverionuevosricos the very elegant to those that are sweet, New York City / www.alejandroalmanzapereda.com Pahl his second album (il. 1); self-portrait www.myspace.com/titantitan sexy and playful. In 2008, she created

(1975, Düsseldorf - DE) / Graphic and interaction for his third album (il. 2); and, his a collection of hand-knit bathing suits I found that I made recommendations Enrique Gonzales designer / former member of music label Nuevos most famous image (il. 3), that in the that made me wish I were a girl and mainly because I knew the people and Ricos / Based in Berlin / primeclub.org I met Enrique when I asked him where Soil Mechanics (detail), 2010. Curved wood. Vari- end, could make us real Nuevos Ricos could flaunt one of the suits on some their work. I asked each one of them for he had gotten his amazing white boots. able dimensions. Sala de Arte Público Siqueiros, (New Rich) through our best-selling Caribbean beach… a photograph of their work.These are Mexico City. Not by coincidence, he and Denise merchandise article (il. 4). Marchebout opened the first fashion 228 - 229

www.galiaeibenschutz.com and challenged each other to see who Miki Guadamur busy... and a lot of traveling Ok I hope it helps.. could write the cheesiest. We still call Miki only eats sugar—no joke. There- and not having lots of images available! PS: are you coming to Hyères? Mark Alor Powell each other mijito (my little son), after fore, he never walks, he just runs. No xoxox I think the time Mark made me laugh all the years. Fernando now runs his bike, no bus, no Metro, even if he has The reason why I suggested them is anne the most was when he revealed to me own charming gallery, called House of to run for one to two hours, or more, to because I know them. that he was a notorious bullshitter. A Gaga. get some place around Mexico City, he good example: taxi drivers in Mexico runs. He gets stopped regularly by the André Pahl I knew him for ages City are always fussy about their cars, cops because running like that makes starting at the Rietveld Academy in even if they are in lousy shape. Mark him seem suspicious. I’d die to film Amsterdam where he was involved in would constantly slam the doors just a and document his countless encounters making music that came out on Nue- tiny bit too hard and he’d get yelled at. with the authorities and the nonsense- vos Ricos. In response, he’d pretend to burst into discussions that ensue. When he arrives tears and start sobbing saying that his at his gigs, he’s already looking as if he’d Enrique Gonzales I met him in younger brother once fell out of the car already performed, panting and sweaty, Paris...and he stayed over at my place Kerim Seiler (left) photographed by Anne de Vries because the door was not closed tight. but he still manages to jump around in Amsterdam and he is an amazing He got the ride for free… Another like a maniac for the next few hours creature, doing lots of stuff. I once also www.clinicastore.com time, he told a nosy driver—they always doing his gig. He has his solo act called made some photographs with him…I ask the same questions: What country “Miki,” and another awesome proj- was thinking to dig those up for you Galia Eibenschutz are you from…what you do…and do Adriana Lara. Live Logo, Gaga, 2007. Sculpture ect called “El pan blanco” (The White but it’s somewhere on 6x6 negatives The first place that I stayed when I you like tacos and Mexican girls?—that and files. Variable dimensions. Courtesy Gaga Bread). Besides performing he works on and will be complicated to search for came to Mexico City was at Galia he had became a millionaire through Fine Arts. his drawings and cartoons, which look it now. Eibenschutz and her partner Carlos an import/export business of plastic www.houseofgaga.com just like the sugar bombs he’s eating. Amorales’ house. After a while I moved caps for ballpoint pens. It’s a wonder he Then his closest friend Denise André Pahl into their studio place where I discov- Adriana Lara wasn’t kidnapped. But it totally made Marchebout at the time some- ered what incredibly beautiful anima- Adriana’s band project “Lasser Mod- sense to me, you’d need that kind of how met André Pahl when he was in tions she was doing—drawn by hand erna” was also released on our Nuevos boldness to shoot the photos he does. Mexico and they became lovers. for me with pencils, on endless paper sheets Ricos record label and the project was I admire his perspective and the way it was incredible that the only 2 persons that passed horizontally for a number the first concert that I saw after I moved he captures Mexico or his hometown I knew at the time in this enormous of minutes in front of the camera’s eye, to Mexico. The place had a terrible hip- Detroit, always finding a way to pho- city meet each other and even fall in piling up and then erasing the fantas- pie name—Cultural Roots Club—and tograph even the strangest of situations love. (PS: this was before Facebook and tic evolutionary landscapes. It was one I was impressed to see Adriana wear- in a natural and intimate way. such.) of those moments where you just want ing jet black sunglasses that made her Enrique Gonzales (right) to throw the computer out the window completely blind to everything, even and Denise Marchebout (center) Later, I learned that André Pahl and and start to do something with your the giant Jamaican rainbow flag with Kerim Seiler both are connected to hands. The drawings were extremely the gorgeous weeds painted all over Carlos Amorales, but I did not detailed. Recently, she did a couple of it—bravo! Her music is very beautiful, know Carlos, I only recently met him. Bart performances, and the one I liked the a modern cumbia earworms style with and I think André and Kerim Seiler most and that sticks in my mind was electronic influences. Apart from her probably also don’t know each other. van esch called “Movimientos Fósiles” in which music she works as an artist, for exam- SAME SHIT, DIFFERENT DECADE!, 2007. Here I am sending you one image I (1964, Den Haag - NL) / Filmmaker / Based in Amsterdam she drew and acted as if she were giving ple in the collective Perros Negros www.flickr.com/photos/mikiguadamur Norteño Fight, 2006. made with Kerim Seiler being a great a speech without words. (with Fernando Mesta, from House of www.myspace.com/elpanblanco www.markalor.com model on one beautiful day in Ada Olivier Debroise: In May 2009, in Gaga in Mexico City) and is editor of www.myspace.com/mikiguadamur Bojana (Montenegro) you can say a backyard in Berlin Kreuzberg during Fernando Mesta Pazmaker, a quarterly art publication. that this is one of the reasons why I the presentation of their fabulous book Before meeting Fernando, we were like wanted to suggest him…but probably “Peeping Tom’s Digest #1/ The Chain”, pen pals because he worked in Carlos Anne also because of his lively stories about Caroline and Stéphane told me about Amorales’ studio who I already had his projects in Mexico and playing the their plan to do a similar project in partnered with on our record label de Vries latest best mMexican music in the car. Mexico City. A few years ago I stayed a “Nuevos Ricos” while I was still living (1977, Den Haag - NL) / Artist / Based in Berlin and while in the Distrito Federal (the DF), in Amsterdam. To practice my Spanish, Amsterdam / www.annedevries.info Anyway it’s interesting to me how these as they call it there, to do research for we were always watching “telenovelas” © Eva Svennung. 3 very different personalities from very a movie I still haven’t made. I didn’t Movimientos Fósiles (Fossil Movements), 2009. (Mexican soaps) and using phrases in hey caro, www.myspace.com/lassermoderna different backgrounds are connected. have many contacts in the art scene Video still from a 40 minutes performance. Sala de our e-mails. We wrote back and forth Sorry for being kind of extremely Arte Público Siqueiros, Mexico City. www.perrosnegros.info there but I knew people who did. One 230 - 231 person who came immediately to my from private investors, he said. irving domÍnguez artworks I introduced her to gallery and therefore had an international dis- Montserrat Albores with her mind was Olivier, Olivier Debroise. When I left the city I was determined owner Pamela Echeverría, so that is tribution at levels never seen before. I project Petra, which she develops in Not only because he is French but if to return soon, which didn’t happen. the reason why she happened to be in boldly assert that this recent story is a duo with Pablo Sigg, is an alternative Caroline and Stéphane would speak I was working hard on another proj- Mexico City last autumn because in spaghetti Western: a genre of widely curatorial space to the status quo of the to him they would find their way eas- ect and his life could never be long fact she is Argentinian. Her work ap- spread contemporary art in vogue, museum or gallery and is dedicated to ily into the art world of Mexico City. enough for the amount of exhibitions pears to be a scientific research chart- directed and orchestrated by very clear the impartial reflection, mainly through He would be the perfect guide. Olivier Olivier wanted to organize, the books ing and describing tangible geological interests that initiated with mod- appropriation. was very much interested in art history, he wanted to write and the films he phenomena, but I feel intuitively that est productions and ended in opulent knew everything about Rivera’s cubist wanted to make. So the Mella plan was in reality she is actually charting her results suitable for Hollywood and also period in Paris, Eissenstein’s stay and not our first priority and the last years own mysterious mental landscapes with fading and rising artists. filming in Mexico or about the German we didn’t have much contact. After through means of drawing. She is I will follow with a quotation taken Eissler brothers. But he also knew a lot I told Caroline and Stéphane about someone radical, either a mad scientist from the assertion in Armando casa vecina about contemporary art and was always Olivier I looked on the Internet to see or an absolute rational artist…or the González Torres’ book ¡Que se mueran interested in young new artists. He what he was doing recently. My heart opposite. los intelectuales! ( Joaquín Mortiz, was the curator of many exhibitions in stood still when I read that he suddenly 2005), because I was not able to bridge and outside Mexico and was in charge died a year before of a heart attack. It’s Julian Lede (aKA Silverio): all the implicit nuances in it: “...anyone Carlos Ranc. Container, 2010. Cardboard boxes of the collections of contemporary like that strange moment when you Julian has been like my brother since that is related in a certain way with and masking tape. 8.5 x 27 x 27 cm. art of UNAM (Universidad Nacional open a paper and see the obituary of we were seventeen-years old. He used artistic and intellectual creation finds Autónoma de México). some one you know. Full of disbelieve. to be a shy guitarist with an interest in himself involved in a series of practices Jorge Méndez Blake who Without knowing each other we both My very dear friend Ivet Reyes Mat- obscure rock and electronic music who and archetypes already established that through his works allows us to avoid researched the death of the Cuban rev- urano told me that she had heard about formed, with some friends, the now mould his appreciation of the works or the erudite quotations of all the con- olutionary Julio Antonio Mella, assas- his death but never told me because she mythical band Melamina Ponderosa. his eventual admission and movability temporary philosophers so necessary to sinated in 1929, on a street in Mexico thought I had known. They rehearsed every day for three in different disciplines. This series of art and who dedicates himself—with a arcangel constantini City. Putting our findings together we years and made Mexico's most incred- institutions, practices and customs (the passion rarely seen—to employ litera- could develop a new thesis of what Ivet Reyes Maturano: Then I ible avant-garde rock music ever, but canon, the artistic groups, the critical ture so forgotten, and so badly handled happened and who could be possi- asked Ivet who she would recommend. they performed live only two times for estates, the academic apparatus, and the by our union. bly behind it. Olivier could be totally She is from Mexico City but worked an audience which mostly consisted of cultural industries) compose the cul- involved and obsessed by the topic he the last years for the Van Abbemuseum their siblings and parents. Years later tural engine, but sometimes they also was researching. In Mella’s case he in Eindhoven and the New Museum in Julian became—in a Dr. Jekyll- and symbolize inertias and vested interests.” reconstructed his last walk through the New York, on an art project in Chicago Mr. Hyde-fashion—the infamous town several times by walking the route and she now does a Ph.D. program musician/performer and prehistoric- I have been asked to speak about four with a stopwatch in his hand. Trying in Montreal. Even though she never like sex symbol Silverio. Together we individuals that, in one way or the to figure out who could be where at worked in Mexico City with contem- created the music label Nuevos Ricos other, I’ve introduced to the world of what moment. When I found out by porary art, she has her own view on All images © Bruno Bresani and with it we attempted to destroy Peeping Tom, and that almost at the Carlos Ranc. What Is Needed to Paraphrase, pure coincidence that there was a little what’s going on there as a consequence You can view a full-size version of these images at: the world, a task we managed to fail same time I could also assimilate them wwww.peepingtomgalerie.com/digest/mexico/outcome 2010. Cigarette boxes and pencil. 22 X 110 x 8 cm. statue of Mella in Mexico City that of her involvement in contemporary art because the world is too greedy… with the word resistance. Although the Olivier didn’t know about, he immedi- outside Mexico City. She came up with practice of resistance is a common act, Emmanuel Picault with his proj- ately drove there. It stood hidden in a the names of the curators Cuauhtémoc the four characters that I present under ect La Valise, in partnership with José park surrounded by prostitutes. Olivier Medina and Jorge Munguía Matute, Carlos the format of a fake staging have forged Carlos Luis Madrigal, is a small bookshop studied it carefully, it looked awful. He the latter was working back then at the themselves a public image, sometimes focused on his affections and interests stayed next to the statue for a while, Museo Rufino Tamayo, together with Amorales against their will, through resistances Ranc for books due to his great love for them thinking about Mella, frozen like a Tobias Ostrander. She also mentioned (1970, MEXICO CITY - MX) / ARTIST REPRESENTED BY Kuri- to the social rules (in the wider pos- (1968, PARIS - FR) / ARTIST / REPRESENTED BY NINA MENO- as that obscure object of desire. statue himself. When he was involved the Sala de Arte Público Siqueiros, manzutto and yvon lambert (FR-US) / CO-FOUNDER sible sense), each one in their particular OF MUSIC LABEL NUEVOS RICOS / BASED IN MEXICO CITY / CAL (MX) / BASED IN MEXICO CITY / WWW.NINAMENOCAL.COM in a topic like Mella he was totally gallery Kurimanzutto and the Jumex WWW.NUEVOSRICOS.COM way, with all the implicit negotiations dedicated to it, to the point that he Collection. that the act in itself bears. Anyhow, it The Good, the Ugly, was emotionally touched. We should Irene Kopelman: Irene and her is the elective affinities around the act definitely make a movie together about husband Praneet are my best friends in the Dirty and the Bad of resistance, as in difference regarding Mella, he told me. Tell the truth about Bruno Amsterdam. When I stay with them Vive la résistance! the practices and archetypes mentioned Mella, instead of ongoing lies from we can talk for hours until we get beforehand, that bring me to name the Cuban historians who like to see him Bresani really bored of each other and become There is nothing new in stating that, following persons: as a communist superhero. Perhaps he almost twenty years ago, Mexican art mean and annoying. Because of these Carlos Ranc. Empty Spines, 2009. Self-adhesive could arrange the money for the film (1973, Recife - BR) / Artist represented by Brigitte Hen- began to have a presence in the world ninger Art (DE) / Based in Barcelona and Mexico conversations and because I love her vinyl on glass. 320 X 840 cm. 232 - 233

Philippe de Saint-Phalle with José Dávila Prometeo, 2005. Lambda print. 160 x 122 cm. Variable dimensions. where, who knows? But in my opinion, his project of a gallery (another one!), Luis Felipe Manzano Jorge Méndez Blake Eduardo Sarabia this is only the beginning, I’m sure the in association with Thierry Desiré, in best is yet to come! which he longs to tear apart the com- www.camcontemporaneo.com monly Americanized mechanisms that establish the rules between the gallery and the artists. Davide Ballula y haciendo acopio de valor bebí la poción… 86 (1978, Vila dum Santo - PT) / Artist / Represented by ediciones de El extraño caso del Dr. Jekyll y Mr. Galerie Frank Elbaz (FR) / Based in Paris / www.lap- Hyde de Robert Louis Stevenson, 2002-2009. 86 Guadalajara (Country), 2006. Handwoven wool pareil.com / www.galeriefrankelbaz.com books on a shelf. 24 x 88 x 15 cm. tapestry. 23.87 x 3.15 m. Photo © Cary Whittier.

Fernando Palomar Emanuel Tovar

Carlos Ranc. add photo, 2010. Inkjet print, 1/3. 40 x 40 cm. Decapitación simbólica de un exiliado / Guerrilla Doméstica, 2009. Oil on wood. 9 x 12 cm each. Cynthia Sistema aperto, 2006. Wood and paint. 244 x 60 x 90 cm. Augusto Marban Deutsche Grammophon, 2005. Paint on wall. Gutiérrez Dimensions variable. Los olvidados, 2009. Bicycle, resin, sawdust. 91 x Cristian Franco (1978, Guadalajara - MX) / Artist / Represented by 150 x 68 cm. Charro Negro Galería / Based in Guadalajara Gabriel Rico Jiménez Davide Ballula. BALULULA, self-portrait as a Mexican, 2009. Tequila bottle, hot sauce, tape. 25 Edgar Cobián Daniela x 5 x 5 cm. Courtesy: Galerie Frank Elbaz. Elbahara Mago, 2004. Color NTSC video, 58 minutes. (1978, Monterrey - MX) / Co-director of Yautepec Gal- lery (MX) / Based in Mexico City / yau.com.mx Demián Víctor Huerta, 2009. Stills from a 4 minutes Rubén Méndez Flores 45 secondes video. CAM Contemporáneo Energía negra, 2009. Neon light and chrome Here are a couple of names that you (1971, JUCHITÁN - MX) / ARTIST / FOUNDER OF LA CURTI- exhaust pipe. 20 x 80 x 20 cm. DURÍA AND TALLER DE GRÁFICA ACTUAL (TAGA) / BASED IN Gonzalo Lebrija should remember and follow, Icari OAXACA / WWW.DEMIANFLORES.COM / WWW.LACURTIDURIA. Susana Rodríguez Gómez and María Álvarez del Castillo BLOGSPOT.COM / WWW.TALLERGRAFICAACTUAL.BLOGSPOT. (CAM Contemporáneo, Guadalajara). COM / WWW.PROYECTOZEGACHE.COM This young power team, composed of two cousins who come from Mexican La Curtiduría and Talleres Comuni- artistic royalty, began working on the tarios de Zegache, are cultural non- profit organizations between art and Trinidad, 2009. Oil on canvas. 120 x 100 cm. new phase of an institution that started in the 1960s, bringing the contempo- society. The first space is a place for rary and new to the front line...promot- dialogue, education and artistic cre- ing artists of various disciplines and ation. On the other hand, the commu- backgrounds, and supporting a thriving nity workshops are a rescue area of the Somebody to Love, 2007. Plastic figurines.Variable gang of experimental musicians with artistic and cultural heritage of Oaxaca, dimensions. their ROCART program. Word on the located in the village of Santa Ana street says their artistic inclinations are Zegache under the direction of restorer Georgina Saldaña and with the collab- Guamuchil Flying Down, 2003.Wrought iron, too rebellious for the family, hence they guitar, 2 flowerpots, 2 artificial plants and base. will have to move out of the space... oration of seventeen young people from 234 - 235 the community. Our vision is to create great detective… the basis of an alternative, self-suffi- Emmanuel Fernando cient and sustainable project through Eduardo Martha Helion: I just met her arts, education and knowledge. Per- Picault Mesta briefly and loved her class and the proj- forming Pictures, Luis Car- Sarabia ects and things I have heard from her rera, Pilar Maceiras Bravo, (1968, Domfront - FR) / Antiques Dealer / Owner and (1981, Guadalajara - MX) / Director of Gaga Arte through the years... (1976, LOS ANGELES - US) / ARTIST / REPRESENTED BY manager of Chic by Accident (MX) / Co-director of La Contemporáneo / Based in Mexico City / www.house- Nicola López Patrick Pet- and Proyectos Monclova / BASED IN GUADALAJARA Valise (MX) / Based in Mexico City / www.chicbyacci- ofgaga.com terson are examples of artists that dent.com apply these cultural strategies for dia- Cosmic Energy and JIS The first section is Guadalajara and Fred Lebain logue, exchange and contemporary Fernando Etulain I gave you the names cause you were artistic production in La Curtiduría. Nickname: The Barroco guy! going there... (1966, L’isle Adam - FR) / Photographer / Represented Description: Large myopic glasses, by Galerie Philippe Chaume (FR) / Based in Paris / www. propice.com / www.galeriephilippechaume.com Each one of these artists develops sensitive gentleman, French speaker, So Guadalajara: projects focused on both creative pro- aesthetic voyeur, photographer, Carlos Ranc: For the subtlety duction and community involvement. arrhythmic dancer, master DJ. Gonzalo Lebrija, Fernando of his détournements in a dangerous The images that follow are an archive Nationality: Mexican Palomar and José Dávila: Le domain. of these artists’ exhibitions and explo- Age: 37 trio tapatio par excellence (OPA)... rations, created by Mexican designer Height: 176 cm Muna Cann: For his Franco-Mex- Santiago Bonfil. Patrick Charpenel: Family and ican bipolarity within the “science and Francisco Torres friend and great collector/curator... techniques of exhibition.” La Curtiduría and Talleres Comuni- Nickname: The Hispano-Suiza tarios de Zegache are reflective spaces, Jis. Encarguito en abstracto, 2006. Ink on paper Description: Beautiful as a car, José Noé Suro: Neighbor, sup- Vanesa Fernández : For her per- together they form a type of resistance (colored with Photoshop). Approx. 12 x 12 cm. designer, professor, smart and discreet, porter, producer and gourmand… severance in maintaining her UFO-like of cultural identity fighting to preserve Courtesy of the artist. vegetable soup maker, piano lover and Celeste within the press orbit. the cultural destiny of our people and ascetic lover. Eduardo Sarabia: Great new “What is a JIS?” their art, a timeless art, that exists Nationality: Spanish Guadalajara via L.A. kid on the block, Text translated from French by Javier Toscano. outside of physical space, that is nour- Contrary to the general belief (that is, Age: 33 and a super sweet guy… ished by the essence of the people: in Google), JIS is not Jamaica Informa- Height: 174 cm their historical memories, in the multi- tion Service nor Jakarta International In Mexico city, there are many many dimensionality of life and dreams and School. JIS are the initials of José Igna- Christian Valdelievre friends and people I knew you knew or Gloria in their ways of living and dying. cio Solórzano, a peculiar and unique Nickname: The friendly snob heard of before so I tried to give you Pedemonte artist based in Guadalajara, Mexico. Description: Shy, tall, sensitive and guys another list of the secret names... In an attempt to describe my attraction brave movie producer, cooking ama- the list of people you don’t find on aka Reiko Underwater (1974, Paris - FR) / Manager of to his work, one unexplainable force teur, elegant ma non troppo, singer, Tsunami Addiction ( music label) / Publisher of maga- Google...then I knew this group of col- zines Famous and Fake-Real / Based in Paris / www. can do more justice: some believe that black eminence, good son. leagues would give you other names of tsunami-addiction.com cosmic energy is the energy between Nationality: French / Mexican the emerging, secret and hidden... the galaxy, planets, humans and mole- Age: 50 something I met Adriana Lara and Fer- cules. This energy is the space between Height: 192 cm Galería de Arte Mexicano: nando Mesta during a short, everything, which keeps order of life Old school, new school, great history three-day trip to Mexico City in May and expands human consciousness. It Erwan Fichou and nice Ladies... 2008, when I was invited to perform as is very hard to explain if this energy Nickname: FICHOU a DJ at the Bless Garden Party, and at really exists, but if it does expand our Description: Beautiful photographer, Magalí Arriola: Back from the a venue called Pasagüero Americano. consciousness, then there is clear proof beautiful swimmer, beautiful drinker, USofA to be part of the new Tamayo The trip was quick, and I was exhausted in the humor and insight of JIS’s char- beautiful friend, beautiful worker, team, great writer, can’t wait to see what from jet lag and the height density. In acters and situations in his comics. beautiful lover. she brings to the city... this house where Bless set up their Nationality: French and proud to be exhibition my friend Eva (I was there born in French Brittany Abraham Cruzvillegas: Great because of her) introduced me to Adri- Age: 35 artist, friend and really generous guy... ana and Fernando. They were so nice Height: 179 cm and absolutely great. Mauricio Marcín: The coolest, Adriana had very beautiful long hair smartest outsider...who brings the best and I couldn’t stop looking at her. I lis- All images © La Curtiduría A.C surprises to town... super serious and a tened to the demo of her band Lasser 236 - 237

Moderna and I completely fell in love he was working at the Museo Rufino Marcela Armas: organic dream bara were my first introduction to the artists from the region, furthering their Mónica Espinosa – the magic of with this experimental cumbia! I loved Tamayo in the education department. disruption Mexican art scene when I arrived from understanding of contemporary art and everyday life expands to the universe, her voice, she has really something spe- I met him in Mexico City and we had New York. Bárbara Perea is an indepen- cultural interests, as well as offering one but the earth is the pinnacle of her rela- cial, a suave casualness. I would have great conversations about his work and Gilberto Esparza: dent curator in Mexico, the ex-director international residency at a time within tion with the existence of life forms. loved to have produced her record... I’m art and other public space projects that mechano-generative of MUCA Roma and a close collabora- a cultural context. I met him in London still not sure if that’s not a possibility. he was involved with. Through him I tor of Priamo Lozada for the first per- and Paris, in 2005. Robert Waters: the double moral Fernando was the best host. He brought got to know the work of Cuauhté- Iván Puig: technopolitique manent Mexican Pavilion at the Venice exposed, the game within the social us to an incredible restaurant next to moc Medina. I found out later that Biennale with artist Lozano-Hemmer. Julia Cooke game. his gallery. Then I went to the House Cuauhtémoc had worked closely with Claudia García Calderón: Bárbara Perea’s essay, “Misogyny as Freelance American journalist living of Gaga gallery. I liked the atmosphere, Olivier Debroise who I had met colpo/incisionary Feminism” (Artlies magazine) is a semi- in Mexico City. She is specialized in Manuel Cerda: fabric, cloth, textile and the cute little pussy cat. I had a lot through Bart in Mexico City. Return- coherent text on recent, postfeminist, architecture, design, contemporary art, assembly of hidden messages. of fun there. ing to Mexico City, and through my in-your-face radical practices in con- culture and society. She writes for such I was definitely sure that I had met just own research and through friends, temporary art. publications as ARTnews and Travesías. Ulises Figueroa: thorough rigor and the right, talented persons in Mexico. I got the sense that the Sala de Katya I have found some of her articles for limitless dedication of scientific recreation. Arte Público Siqueiros had also Gardea the New York magazine Artworld Salon become an exciting space for showing about the Mexican art scene since 2006 Martín Soto: subtle, almost, quite contemporary art. Browne very insightful. nothing. Ivet Reyes If I had to respond today to the ques- (1971, Mexico City - MX) / Artist / Based in Mexico City Maturano tion of how this all came about, truth- and Berlin / www.katyagardea.com Diego Teo: transformation is the fully I have forgotten the details, but I only way of change. (1976, Mexico City - MX) / Anthropologist / Based in would probably add other names such Kerstin Montreal (CA) Marcela Armas as Minerva Cuevas who I met in At times an artist can be a fan of Erdmann Félix Curto: cowboys, Godyear and Eindhoven. I feel terribly shy about songs, silver stars have fallen down. It was over a year or so ago that Bart another peer artist. I am a fan of Mar- having to admit to my ignorance since (1979, Bremen - DE) / INDEPENDENT CURATOR / HEAD OF van Esch contacted me about people in cela Armas’ work because it is timely INTERNATIONAL DEVELOPMENT AT MUSEO UNIVERSITARIO I have not been living in Mexico City Xavier Rodríguez: playful sarcasm art I could recommend working with and political while being involved in ARTE CONTEMPORÁNEO (MUAC) in Mexico City / BASED IN for more than five years. I do however MEXICO CITY / www.livingartroom.com / WWW.MUAC. and irony, it is often him in his work, the in Mexico City for the Peeping Tom technology and ecology. It has a certain feel that I have the duty to respond UNAM.MX / WWW.MUAC.UNAM.MX fragility of life and the use of language. book. I cannot readily recall exactly amount of seriousness and a simplistic and to do so because I consider myself what he asked or how I came to pass idea taken to the extreme. She fits my privileged for having the opportunity Ángel Delgado – reflection of the Paulina Lasa: she is trying to along some names (and not others). In criteria of a good female contemporary to work abroad and for having met all self and elemental struggle for basic change the world, she is playing with any case I must say that I knew most of artist working in Mexico at this time these fantastic people as well as having principles of liberty. human behavior. these people after I worked outside of Studio Plant, Plastic Plant, 2007. Homage to Bár- been able to cultivate one of the most Mexico and more precisely by working Arcangel Constantini bara Perea and Priamo Lozada by Katya Gardea. valuable things I learned from Annie Claudia de la Torre – young Marcos Castro: texture and ani- with Annie Fletcher and Charles Esche I first met artists from the digital tech- and Charles…the importance of culti- enthusiasm summed up in the trans- mals make for deep reflection. in Eindhoven at the Van Abbemu- nology and media art scene in Mexico Karla Jasso vating friendships…relationships. formation of black in white. seum. My work with them—for more City at Arcangel Constantini´s alter- Media Lab curator, Laboratio Arte native space. I recommended him as Miho Hagino: the creative disrup- than two years—became immensely Alameda. Incorporating feminism and Gilberto Esparza – in search of a precursor of technology and sound- tion of forms and textures into sounds, inspiring. It was an intense schooling politics into media art and technology the creation, new species emerge from based arts in Mexico, as well as a source tracking the paths of identity and space. in contemporary art, the role of muse- Jessica (see: Arte, technología y feminismo: nue- inorganic detritus. ums, and the work of curators and their and international contact. vas figuraciones simbólicas, Universidad www.un-cuarto.org Enrique Ježik: state, power, con- relationships with, and in, our social Berlanga Iberoamericana Mexico City, 2008). Marcela Armas www.basura.org.mx – society is always trol, repression, destruction, attributes contexts. They both engaged in the She is one of my favorite and involved the limit, the border is the line, the line of society that are constantly analyzed project Museum as Hub that brought Taylor curators at this time with media arts in Irving DomÍnguez is the boundary, the boundary is the and discussed. together different galleries in different (1979, Mexico City - MX) / Independent art critic / Cura- Mexico. Irving Domínguez is an up-and- shape, the shape is the edge. cities including the MUSEO RUFINO tor / Based in Mexico City and Vancouver (CA) coming Mexican curator and art critic Fernando Montiel Klimt: arti- TAMAYO in Mexico City. Through La Curtiduría and Demián interested in issues of gender and cul- Iván Puig – can you believe at all? ficially created dystopian environments both of them I got to know about the Antonio O’connell: Flores ture. I have found him very insightful and ambiguous beings. Kurimanzutto gallery and the claustrophuck La Curtiduría is a project space with a and engaged. Mauricio Limón – moleskine: leg- Jumex Collection who they had also residency program in Oaxaca, founded endary notebooks. Gabriel de la Mora: meticu- had contact with and that I visited María Ezcurra: macrosomic by the international artist Demián lous almost obsessive use of materials, later on. Through Annie I got in touch ghosts Flores who is one of my favorite graphic Bárbara Perea Marco Rountree – the rule is the exploration of paranormal phenomena. with Jorge Munguía Matute. Jessica Wozny: macrofantastical artists and painters working in Mexico Gin and tonics with Priamo and Bár- appropriation, tu casa es mi casa. When I met him for the first time, at this time. La Curtiduría helps young 238 - 239

Ariel Orozco: a playful attitude invites Mexican translators, writers and Roberto Rubalcava Petra: Petra is an independent space rón, when she entered the Mexican art fessors who replied are: Zony against the drama, one dog is one poets to the next edition of his litera- Roberto Rubalcava is one of my best for curatorial projects. You should scene. She is in close contact with the Maya, Allan Fis, Nirvana Paz football. ture festival Babel in Bellinzona, Swit- friends—he is magical and greets meet Montserrat Albores, the cura- younger generation of Mexican artists and Ricardo Cuevas. The stu- zerland this fall. everyone he ever meets with a big smile. tor, to speak with her about her project, and knows them well. dents and ex-students who replied Marco Casado: social imagery because there is nothing else like it in were: Arturo Limón, Carlos that converges into narrative and subtle the city. Tobias Ostrander: Tobias Reyes, Rodrigo Navarro, abstraction. Ostrander arrived in Mexico City, in Carlos Licón, Isaac Contre- Kinga Magnolia Macarena Hernández: Macarena 2001, after he had worked at InSite. ras, Mariana Osorno and Jaime Ruiz Otis: detritus and Kielczynska de la Garza Hernández was in charge of the César For eight years he was a chief curator Bruno Ruiz. These last two were recuperation. Cervantes Collection. She is a person of the Museo Rufino Tamayo and is students in my course for advanced (1975, Mexico City - MX) / ASSOCIATE CURATOR AT MUSEO (1972, Warsaw - PL) / Artist / Based in berlin / www. that can give you an idea of what is currently the director of El Eco. Tobias photography. The result comes close kingakielczynska.com TAMAYO in Mexico City / BASED IN MEXICO CITY Agustín González: painting and happening in the sphere of private col- has witnessed the transformation of the to a panorama of photography with drawing, drawing is painting, painting lections in Mexico. Mexican art scene since his arrival, and its different genres of production, La historia melancólica is a book that Alejandro Almanza: Alejandro was drawing, dragging in painting. has been part of that change. from documentary to the construc- describes the life and adventures of the Almanza is an artist that you don’t find Yoshua Okón: Yoshua Okón, tion of fictions. artist Maurycy Gomulicki in a on the gallery circuit. He seemed to me Livingartroom: oblique proposal, besides his work as an artist, has been semi-fictional narrative. A dazzling, someone that would be interesting for range of multiforms of ideas. involved with two very interesting Bruno Ruiz crazy-quilt monument of the imagina- you to know, not only because of his projects in Mexico City. The first one Miguel In his work, Bruno Ruiz maintains tion. In this book we enter the enchant- work, but for the perspective that he Antonio O’connell: architec- is La Panadería, which from the 1990s coherence between the use of a tech- ing world of the artist and dive into a could give you on the contemporary art Monroy tonical virus and chaotic-organized, to 2002, served as a platform for many nique as simple as black-and-white, mind that is an endless source of fas- scene in Mexico. deconstruction of utopia. Mexican and foreign artists. The sec- (1975, MEXICO CITY - MX) / ARTIST / REPRESENTED BY and a discreet sensibility for intertwin- cinating passions and obsessions.The Galería de Arte Mexicano and PERUGI ARTECONTEMPORA- ond is SOMA, a school of art that ing and suggesting appearances that book offers enough food for thought Patrick Charpenel: The fact that NEA (IT) / BASED IN MEXICO CITY / WWW.MIGUELMONROY.NET just opened a few months ago, which tend to be ironic. In most of his work, to satisfy the most intellectual and Patrick lives in Guadalajara and develops besides being an educational space is Ruiz takes pictures of his 12-year-old aesthetic of appetites. A celebration of projects in different places in Mexico and Begoña Morales Kerim a space for cultural exchange through younger brother. The latter becomes life’s pleasure. abroad, as well as his double role of col- events open to the public and a resi- an accomplice of subtle and austere Seiler lector and curator gives him a very inter- dency program. scenarios, stripped of any excessive esting vision of the Mexican art scene. (1974, Bern - CH) / Artist / Based in Zürich (CH) / ker- decoration. At first glance, Ruiz’s pho- imseiler.com Galería OMR: Galería OMR has tographs are a set of clear and pristine Guillermo Fricke: After aban- been one of the galleries involved with images, devoid of secrets. But as we Carlos Amorales: Carlos Amo- doning Mexico City, Guillermo Fricke the Mexican contemporary art since confront them, intrigued and fasci- rales and Nuevos Ricos challenged established himself in Oaxaca, where he the 1980s. It represents artists such as nated, we wish to know why we are me from Yucatacán sharks to the was a curator of the Centro Fotográ- Rubén Ortiz Torres, Rafael Lozano- looking at them—and, especially, how Fellinesque of the strip clubs of Mex- fico Manuel Álvarez Bravo and today, Vanishing Point, 2009. Glass, scotch tape and Hemmer, Jorge Méndez Blake and we should look at them. We might, at ico City, where I lost my mind for a the director of the IAGO (Instituto de nylon thread. Variable dimensions. Iñaki Bonillas. the very least, think that Ruiz’s main change. Artes Gráficas de Oaxaca). Guillermo intention is to set up a game for which is now part of the Oaxaca art scene. Osvaldo Sánchez: Osvaldo Sán- we do not yet know the rules. Orlando El Furioso (aKA chez, since his arrival in Mexico, in the Omar Orlando Jiménez): If you love Galería Nina Menocal: The 1990s, has been connected with differ- Text translated from French by Javier Toscano. Lucha Libre, it’s a revelation to hear gallery Nina Menocal is connected Gámez ent platforms such as InSite, the Inter- referee Orlando El Furioso speak with the recent history of art in Mexico. national Forum on Contemporary (1975, MEXICO CITY - MX) / PHOTOGRAPHER / ACADEMIC about it, shifting ones focus from During the 1990s, the gallery was dedi- DIRECTOR OF ACADEMIA DE ARTES VISUALES (AAVI) IN MEX- Art Theory (FITAC), Museo Carrillo Lucha’s spectacular quality towards its La historia melancolica de Maurycy Gomulicki. cated to the promotion of a generation ICO CITY / BASED IN MEXICO CITY / WWW.OMARGAMEZ.COM Gil, Museo Rufino Tamayo and cur- / WWW.AAVI.NET rather mythological essence. Written by his grandfather. 320 pages, 153 color of Cuban artists. It was the first pri- rently, the Museo de Arte Moderno plates. vate space to show artists such as Félix in Mexico City. All these spaces have Last year, Stéphane and Caroline Adrian Notz: Arthur Cravan’s true González-Torres or Teresa Margoles. defined the contemporary art scene in suggested that I participate in the godfather and co-director of Cabaret Mexico. Peeping Tom project by recommend- Voltaire in Zurich brought me and Curare: Curare is one of the few Lina ing Mexican photographers. In order my then partner Caroline Pachoud to publications that, since the 1990s, has Daniela Pérez: Daniela Pérez is a to make a selection, I sent an open Mexico to hatch our heads. Scheynius been dedicated exclusively to contem- curator of the Museo Rufino Tamayo. porary art. It also serves as a guide to call to professors and students from (1981, Vänersborg - SE) / Photographer / Based in Lon- She worked at the Museo Carrillo Gil the Academy of Visual Arts (AAVI), Vanni Bianchoni: Trying to bring don and Paris / www.linascheynius.com knowing who has been writing about and as the assistant to Miguel Calde- Mexico City which I lead. The pro- our planets’ cacophony in tune, he art during the last few decades. 240 - 241

Omar Gámez, Daniel Habif and empty individual becomes my Who would have known this recom- and Horacio Cadzco: To me, ideal speaker. Summary: I use elements mendation was as important. But you these artists should appear more in of that imposed culture to construct Sophie have pointed out the problem. At the the Mexican art scene, because they another meaning, inviting the spectator Mörner end of the day by uncovering these have pertinent works but are not on to remember. Rubén Gutiérrez mechanisms one can reflect on the the agenda of Mexico. There are a lot (1976, Stockholm - SE) / Publisher and Editor of social system behind the contemporary Capricious / Photographer / Based in Brooklyn, NY / of good artists but these are the only www.becapricious.com / sophiemorner.com art world scene and realize how deter- names I could remember when you minant yet random and blank this net- asked me. Pamela Echeverría working could be. I recommended Pamela because she LEAC, Galería Garash, had an insight in the emerging Mexi- Proyectos Monclova, Gaga can art scene. She was in turn recom- Tercerun- Arte Contemporáneo, EDS mended to me by Charlotte Cotton, Galería, Galería Hilario who worked on a previous issue of quinto Lord Don’t Forget Me, 2007 © Bruno Ruiz. Galguera, MACO. These spaces Capricious. Pamela was so amazing to and projects are new ones that in my ARTIST COLLECTIVE / FOUNDED IN 1996 / COLLECTIVE MEM- work with, and her selection of artists BERS: JULIO CASTRO (1976, MONTERREY - MX), GABRIEL opinion are serious projects and will for the magazine’s Acts of Secrecy was CÁZARES (1978, MONTERREY - MX) AND ROLANDO FLORES Portrait of artist Raul Ortega Ayala taken at his have some kind of perenniality: there really in hand with the emerging Mexi- (1975, MONTERREY - MX) / Represented by Proyectos Pamela are a lot of new projects in Mexico solo exhibition at the Museo Experimental El Monclova and Peter Kilchmann Galerie (CH) / BASED can art scene. IN MEXICO CITY City, but they usually don’t last for Eco, Mexico City in December 2008 © Roberto Echeverría Rubalcava. more than three or four years. (1973, Santiago de Chile - CL) / Owner of gallery Our recommendations are SOMA, LABOR / Based in Mexico City / www.labor.org.mx Tania Sala de Arte Público Siqueiros (SAPS) and Centro Cultural James Oles: I chose James Oles Roberto Pérez Universitario Tlatelolco since he is one of the best compan- (CCUT) because we know these institu- ions one could ever have when walk- Rubalcava Córdova tions and we think they, from different ing through the streets of this city. A (1969, MEXICO CITY - MX) / PHOTOGRAPHER / BASED IN LON- (1979, MEXICO City - MX) / Artist / BASED IN MEXICO CITY platforms, are making very interesting professor at Wellesley College, Jay—as DON / www.robertorubalcava.com and important projects. Personally, we we call him—has spent years studying Detail of by Raúl An Ethnography on Gardening Did I recommend______? know the people who work there and the history of this culture and writing Ortega Ayala © Roberto Rubalcava. Raúl Ortega Ayala: I love Raul How funny, the truth is that I barely we believe in them, in their aims. about art. He always has a new anec- Ortega Ayala’s art. He has a very inter- know him or his work. I don’t think he dote to tell, or a revelation, the gossips esting work methodology. His pains- would even recognize me if he saw me of those times. All this put forward in taking research is based on a process walking down the street! Did you get a the most precise language. He’s got Vanesa which he refers to as “immersions,” and chance to visit his studio? Let me think both the knowledge and the distance of takes place over a year or more. His Fernández a bit and decide what I could write a foreigner’s eye to tell you about the personality may undergo changes while (1971, Mexico City - MX) / Publisher of Celeste and about him. country. You might not often agree, but he is immersed in a particular theme. Baby Baby Baby / Based in Mexico City / www.celeste. Rubén Gutiérrez. The Best Art Work in the World, Recommending people is so com- it’s always a great dialogue. He also gets jobs in that area: a bor- com.mx / www.babybabybaby.com.mx 2008. Still from a 1 minute video. Courtesy of promising, by doing so one ends up ing office worker, a gardener, a chef and the artist. speaking about oneself…indirectly, and Luis Adelantado: I mentioned adapts himself according to each envi- RUBÉN GUTIÉRREZ: I’m a confused www.objectnotfound.org yet, sometimes I forget and keep nam- him because he just opened an enor- ronment, exploring it from the inside post-adolescent who operates in the art www.rubengutierrez.net ing the same people without a second mous gallery space in Mexico City. and not the outside. He then uses the world with a skeptical attitude towards thought. I wish I had come up with an Text translated from Spanish by Fatima Rateb. materials and experiences that he has everything. One of the main objectives obscure sixty-year-old neglected Mexi- encountered to produce “souvenirs.” In of my work is to elaborate on criticism can artist. Perhaps some old man work- Pip Day: Curator and art critic. Taught my view it’s his approach to research of consumer society from the viewpoint ing alone in the middle of the jungle, Rafael at Goldsmith’s College, London, MA, that makes his work very special. of the entertainment industry. My or some shy housewife secretly setting and was the curator at Artist’s Space, López pieces form a series of poetic resistance up kitchen ready-mades while her New York. Currently runs the art pro- exercises. I don’t agree with the market children are away at school, or perhaps gram at Casa Vecina in Mexico City. Uriegas when it dictates that all aspects of life even a depressed businessman writing (1982, Malaga - ES) / Curator of art center Casino are stimulating. I think that in today’s experimental poetry between his office Metropolitano (MX) from 2006 to 2009 / Based in world “to perceive” is confused with “to appointments. Mexico City / www.casinometropolitano-arte.com forget”; in that situation, the consumer 242 - 242

AUTHORS COLOPHON

Alejandro Almanza Pereda Jorge Munguía Matute Patricia Martín Peeping Tom’s Digest issue # 2: MEXICO (1977, Mexico City - MX) / Artist / Based in Mexico (1979, Guadalajara - MX) / Independent Curator (1969, Mexico City - MX) / Independent Curator / 2010 Printer City and New York / Cultural Promoter / Co-Founder of Pase Former Director of La Colección Jumex (1997- Seven (Belgium) / Christophe Pany: [email protected] MERCI www.alejandroalmanzapereda.com Usted, Platform For Ideas / Editor at Tomo 2005) / Founder of AXA’s contemporary art ///////////// magazine and rufino.mx / Based in Mexico City collection in Mexico / Director of Alumnos 47 / |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Magnolia de la Garza André Pahl www.paseusted.org Based in Mexico City Editorial Team (1975, Düsseldorf - DE) / Graphic and Interac- www.tomo.mx Founder, Editor and Publisher: Peeping Tom, aka On the Cover Jeffery J. Pavelka tion Designer / Former member of music label www.rufino.mx Patrick Charpenel Caroline Niémant and Stéphane Blanc .... Thomas Phongsathorn Nuevos Ricos / Based in Berlin (1967, Guadalajara - MX) / Independent Curator www.primeclub.org José García / Lecturer / Art Historian / Contemporary Art Editor-in-Chief |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| All the authors, contributors, translators and copyeditors (1980, Monclova - MX) / Director of Proyectos Collector / Based in Guadalajara Caroline Niémant Carmen Cebreros Urzaiz Monclova (MX) / Based in Mexico City [email protected] Peeping Tom is an initiative of “I am not a girl who Our sponsors and partners: Art Basel Miami, art forum (1977, Mexico City - MX) / Curator / Writer / www.proyectosmonclova.com Pip Day misses much,” a non-profit organization aimed at berlin, Atelier Surexposés (Bruno Cordonnier), Berliner Based in Mexico City (1969, London - UK) / Independent Curator and Creative Director and Graphic Designer supporting and promoting contemporary artists, mostly Liste, Chic by Accident, Le Book, Liste Basel, Preview Kerstin Erdmann Critic / Based in Mexico City Stéphane Blanc, aka Mr White emerging ones, while putting contemporary art within Berlin, Imagin’ (Anne-Laure Dagorn), The Hectic Potluck Chloé Fricout (1979, Bremen - DE) / Independent Curator / [email protected] the reach and range of the general public. As a seeker Corporation, Tsunami-Addiction, Zona Maco (1983, Paris - FR) / Independent Curator / Based Head of International Development at Museo Ruth Estévez of new talent, Peeping Tom conceives and realizes in Mexico City and Berlin Universitario Arte Contemporáneo (MUAC) in (1977, Bilbao - ES) / Chief Curator at Museo de Editor-at-Large special projects showcasing its discoveries through Our printer Mexico City / Based in Mexico City Arte Carrillo Gil in Mexico City / Independent Magnolia de la Garza exhibitions, auctions sales, collaborations with art insti- Our distributors Cynthia Gutiérrez www.livingartroom.com Art Critic and Curator / Based in Mexico City tutions, galleries, festivals, etc. and some publications Our launch events partners (1978, Guadalajara - MX) / Artist, represented Translators (magazines, catalogues, artists’ books, fanzines, etc.). by Charro Negro Galería (MX) / Based in Luis Ramaggio Sarah Demeuse (Spanish to English) More info: www.peepingtomgalerie.com Adriana Lara Guadalajara (1973, Campeche - MX) / Philosopher / Art Writer Fatima Rateb (Spanish to English) Arnaud et Aurélie Pyvka / Based in Mexico City Javier Toscano (French to English) Postal address: 64, rue Philippe de Girard 75018 Paris / Candice Meiers Daniela Pérez France [email protected] Carlos Ranc (1980, Mexico City - MX) / Associate Curator Macarena Hernández Copyeditors Catherine Chevalier at Museo Tamayo in Mexico City / Based in (1980, Madrid - ES) / Research and Projects Jeffery J. Pavelka Copyright and legal matters Celeste magazine and Pia Camil Mexico City Coordinator, Museo Experimental El Eco in Thomas Phongsathorn The entire content is copyright Peeping Tom ©2010, Christian Valdelievre Mexico City / Based in Mexico City the artists and the authors. None of it can be repro- Christine Mouchard Eva Svennung Care of the Edition duced in full or in part without the written authorization Christophe Wagnies (1983, Cap D’adge - FR) / Independent Curator / Magnolia de la Garza Jeffery J. Pavelka of the publishers. Model releases and copyrights for the Copy Store (Edouard) Co-Founder of Toasting Agency / Co-Publisher (1975, Mexico City - MX) / Associate Curator published material are the artists’ responsibility. The Eduardo Balcarcel Quijano of magazine May / Based in Paris (FR) at Museo Tamayo in Mexico City / Based in |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| views presented here are those of the author(s) and do Elisabeth Lastschenko www.toastagency.com Mexico City not represent Peeping Tom. Peeping Tom declines any Emmanuel Picault www.mayrevue.com Distribution responsibility on these matters. Eric Namont et Marie Laure N. Mercedes Nasta de la Parra KD Press / Eric Namont and Marie-Laure N.: 14, rue Eva Svennung Geovana Ibarra (1986, Mexico City - MX) / Independent Writer des Messageries 75010 Paris / Tel: +33 (0) 1 42 46 02 Techs & Specs Fanny Pascaud (1974, Mexico City - MX) / Cultural Promoter / / Musician, Singer of Disco Ruido / Based in 20 / [email protected] / [email protected] Peeping Tom’s Digest is (trying to be) an annual Fernando Etulain Based in Guadalajara Mexico City publication Gloria Pedemonte a.k.a. Reiko Underwater www.myspace.com/discoruido France: Les Presses du réel / www.lespressesdureel. Price (France): 15 Euros - please contact Peeping Tom Jorge Munguía Matute Gerardo Lammers www.mercedesnasta.blogspot.com com - Switzerland / Germany: Motto Distribution for international prices Julia Pentecouteau (1970, Mexico City - MX) / Cultural Journalist / www.mottodistribution.com - Mexico: Codigo / www. Laurence Lemaire Editor / Cartoonist / Based in Guadalajara Michel Blancsubé codigo06140.com - Rest of the world: Export Press Numéro ISSN: Macarena Hernández (1958, Vanves - FR) / Head of The Registration www.exportpress.com Dépôt légal à parution Mady Madoré Guillermo Fricke Department Fundación/Colección Jumex / Inde- Ce numéro comporte un encart non paginé Margaret Zamos-Monteith (1978, Mexico City - MX) / Director Instituto de pendent Curator / Based in Mexico City Please contact KD Press for more information and Ouvrage imprimé en Belgique par Seven en .... Mauricette et Jean-Claude Blanc Artes Gráficas de Oaxaca / Based in Oaxaca points-of-sale. Directrice de la publication : Caroline Niémant Mauricio Maillé www.institutodeartesgraficasdeoaxaca. Montserrat Albores Mémé Pat & Pépé Marcel blogspot.com Gleason |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ///////////////// Michel Madoré (1974, Mexico City - MX) / Co-Director of Petra Mireya Escalante Jessica Berlanga Taylor / Independent Curator and Writer / Based in Advertising All the texts were written and the interviews conducted Nico Niémant (1979, Mexico City - MX) / Independent Art Mexico City Commercial rates between January and June 2010. Niklas Svennüng Critic / Curator / Based in Mexico City and Omar Gámez Vancouver (CA) Pablo Sigg Gallery rates This publication was completed in July 2010 and Radio Global (1974, Mexico City - MX) / Artist / Co-Director of printed in ... (international crises won’t be an excuse Raul Ortega Ayala Petra / Based in Mexico City Sponsorship, patron and partnership positions are also this year, but life is cruel, people, and patience is our Ricardo Porrero Gonzales available. More info: [email protected] karma). Sandra Berrebi Thibault Pradet |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| Vidal Serfaty Nirvana Paz

Guillermo Santamarina Zony Maya

Arturo Limon

Rodrigo Navarro

Carlos Reyes

Maurico Maucin Ricardo Cuevas Christian Jankowski Centro Cultural Universitario Tlatelolco Charro Negro Galería Mariana Osorno Casino Metropolitan Museo de Arte de Zapopan Rafael Uriegas et Leonardo Cárdenas Vogel MAZ MUAC Antek Walczak Carlos Licon Isaac Contreras Emanuel Tovar Tercerunquinto Anales Édgar Cobián Marco Casado Gonzalo Lebrija Galeria Arena Mexico Benjamin Torres Magali Arriola Daniel Alcala Proyecto Liga Agustin Gonzales Karl Holmqvist

Humberto Duque La Vitrina Miho Hagino Ex Teresa Enrique Jezik Fernando Palomar Rebel Cats EDS : soda liquid Proyectos Monclova Gaga Fernando Montiel Klint Arte Contemporáneo Francisco Ugarte Gabriel Rico Jimenez Naomi Uman Ilian Gonzales Felipe Manzano Fernando Mesta Jaime Ruiz Abraham Cruzvillegas Gabriel Rico Javier M. Rodriguez Marcos Castro Jay Chung and Veronica Flores 244 -Ariel 244 Orozco Q takeki Maeda Cynthia Gutierrez Mariana Mungia Nathalie Regard José Rojas Codigo

Livingartroom Viviana Kuri Collection Lopez Rocha Augusto Marban Patrick Charpenel

Cristian Franco Luis Alfonso Villalobos Larva Xavier Rodriguez Patricia Sloane Paulina Lasa PAC

Chloé Fricourt Cuauhtemoc Medina Gerardo Lammers Robert Waters Gonzalo Ortega Olivier Debroise

Ivan Avilès Patricia Torres

Muca Roma Mariana Pérez Amor

Saúl Villa Angel Delgado Fondo de Cultura Economica

Fanny Pascaud MUNAL Beth Calzado

Galeria Ediciones Plan B Demian Flores Julia Cook Lorena Wolfer Performing Pictures Juan Carlos Betancourt Hecho en Oaxaca

Eduardo del Río Gloria Pedemonte Guillermo Fricke La Curtiduria Olga Margarita Davila Luis Carrera Carmen Cebreros Urzaiz Curare Casa del Lago Museo Soumaya

Bruno Bersani Melanie Smith Amat Escalante Begoña Morales Jose Luis Cortes

Morgane Lory Yvonne Venegas Jessica Wozny Emile Hyperion Allen Frame Dubuisson Jessica Berlanga Taylor Manuel Cirauqui James Oles Angèle Malatre Lina Scheynius

Claudi Garcia Calderon Paola Davila Jota Martes

Géraldine Postel Pedro Friedeberg Maria Ezcurra Thibault Pradet Luis Ramaggio Antonio O’Connell Jacques Kebadian

Jose Kuri

Monica Manzutto

sofía táboas rirkrit tiravanija

monika sosnowska

abraham cruzvillegas Victor Zamudio Taylor minerva cuevas

Carlos Amorales Kurimanzutto

Moris jonathan hernández damián ortega

jimmie durham Edgardo Aragon Daniel guzmán SAN ILDEFONSO CENTRO CULTURAL DEL MÉXICO CONTEMPORÁNEO gabriel orozco dr. lakra

Inti Muñoz Santini gabriel kuri Miguel Calderon fernando ortega PALACIO DE BELLAS ARTES appartement Martin Munez

MUSEO DEL ESTANQUILLO CENTRO CULTURAL ESPAÑA PRAXIS

Mariana Vargas La Refaccionaria

MUSEO DE LA SHCP MUSEO DE LA CIUDAD

ZONA MACO Fritzia Irizar Daniela Rossell

MUSEO JOSE LUIS CUEVAS

Eduardo Thomas CENTRO DE LA IMAGEN Watcha Vato

Vanessa Hernandez Silverio Nuevos Ricos Museum of Mexican Design Liliana Ramales Ruth Estevez

Michel Blancsubé Palacio Nacional

GALERÍA LÓPEZ QUIROGA Sonido Changorama Titan Gabriela Camacho Cecilia Ramírez CERCA DEL METRO TACUBAYA Icari Gómez GALERIA DE ARTE MEXICANO GALERÍA JUAN MARÍN Jumex Foundation

MUSEO DE GALERIA ENRIQUE GUERRERO ANTROPOLOGÍA E HISTORIA Claudia Lopez Terroso Noah Sheldon MUSEO DE ARTE MODERNO

GALERIA OSCAR ROMÁN Mathieu Poirier Paola de Anda Sophie Morner Luis Adelantado

Fabiola Torres Alzaga Alejandro Jorodovski Pamela Echeverrias Roberto Hernandez Ruiz

Fernando Carabajal Allison Ayers

Jokus Migratorio Patricia Martin Thomas Glassford

Daniel Solano Iker Vicente

Erick Meyenberg Pavka Segura Luis Carlos Hurtado Mariana Castillo Dellecamp

Pedro Reyes

Labor

Irene Kopelman

André Pahl Etienne Chambaud Orlando Jimenez

Jorge Satorre David Lida

Hector Zamora Pia Camil Miki Guadamur Kerim Seiler Celeste Pablo Vargas Lugo

Teresa Margolles Pip Day Erick Beltran Axel Velazquez Mark Alor Powell Santiago Cucullu Philippe Chaume Vanni Bianchoni El Resplandor

Adian Notz Galia Eibenschutz Denise Marchebout

Muna Cann Enrique Gonzales Vanesa Fernández

Ruben Gutierrez

Felipe de Saint Phalle Frédéric Lebain

Jorge Mendez Blake Jean-Charles Hue

Mario Canal Montserrat Albores Carlos Ranc

Erwan Fichou Pablo Sigg El Centro

Petra Christine Mouchard

Emmanuel Picault Fernando Etulain Los Pellejos Smellapathy

Chic by accident Francisco Torres

Christian Valdelievre

Cerro Largo

Austrian couple Mario Corella

Susanne Steines & John Mack

Ilse Gradwohl