Conaculta Inba

The Interplay of Past and Present. Hélio Oiticica at Museo Jumex

Andrés Reséndiz Rodea
 
 
Is it posible for a work of art, dating back 50 years, to offer a contemporary sensory experience with elements of the future? In 1967, perhaps without this being his main goal, Hélio Oiticica (Río de Janerio, 1937-1980) produced a work exploring the possibility of including variable and random stimuli from eras as removed from his as our own. This was made possible by a particular element he introduced in his creative work. We will reflect uopn this in this article. Continuar Leyendo →

An Instant On the Road. Alejandro Gómez de Tuddo’s Exhibition at Cenart

Rubí Aguilar Cancino
 
 

Death is a lived life. Life is a coming death.

Jorge Luis Borges

 
 
The main theme of the second International Photography Festival FotoMéxico was Latitudes, an invitation to explore the geographical, anthropological and disciplinary diversity in contemporary photography. Works were exhibited along four axis: Politics and Society; Landscape and Territory; Traces and Memory; and Body and Identity. Continuar Leyendo →

Ways of Seeing: Yolanda Ceballos’ Transitions

Alejandra Estrada
 
 
The collective exhibition Modos de ver ran between January 26 and April 29, 2018, at Museo de Arte Carrillo Gil, in Mexico City. It was curated by Tatiana Cuevas and presented in coordination with Programa Bancomer (fifth edition), with an aim to promote nine young artists selected by a jury and backed by renowned advisors, like Carlos Amorales, from an interdisciplinary research project centered on analizing and debating new ways of producing and seeing contemporary art in al lof its diversity. I thank the museum for the information it provided. Continuar Leyendo →

Episodio by Estrella Carmona and 7102 Fantasma Semiótico SCituacionista

María Eugenia Garmendia Carbajal and Edwina Moreno Guerra
 
 
Estrella Carmona is one of the artists under consideration within our research project at Cenidiap: ‘Representaciones Apocalípticas, Catastróficas y Silentes en el Arte Pictórico Contemporáneo Mexicano’. We visited two exhibitions of her work: a solo show at Museo de Arte de la Secretaría de Hacienda y Crédito Público, and a collective exhibition at Museo de Arte Carrillo Gil. Continuar Leyendo →

Carlos Amorales at MUAC: Axioms for Action (1996-2018)

Edwina Moreno Guerra
 
 
It is remarkable for a young Mexican artist like Carlos Amorales (Mexico City, 1970) to exhibit at Museo Universitario Arte Contemporáneo (MUAC).
Havig lived and trained in Europe (1990-2004), he returned to Mexico as an established artist. This exhibition showcases pieces from different and even disparate genres. The effort invested in developing each piece is apparent; spectators have to concentrate in order to fully appreciaate them. There are no distinctive marks to give the show a degree of coherence, but if we were told that this is actually a collective exhibition we would promptly believe it, because he engages with so many artistic disciplines: drawing, painting, sculpture, collage, performance, installation, sound art, cinema, writing, and other non traditional forms. Continuar Leyendo →

Guillermo Gómez-Peña, Mexican (IN)documentado

Edwina Moreno
 
 
One might say that now is “the moment” for Guillermo Gómez-Peña’s art. Looking into his life and work, one discovers that political decisions by President Trump against Mexican immigrants provide a timely space for Gómez-Peña’s artistic actions. This Mexican artist migrated to the USA when he was young; his thoughts regarding Chicanos do not stem from a political, social, or human rights perspective, not even from a conventional artistic point of view, but rather from the standpoint of a contemporary artist whose expression is both empathic and experiential, since he has felt the brunt of discrimination suffered by so many of our fellow Mexicans. Continuar Leyendo →

Un mismo amor

Alberto Híjar Serrano
 
 
Without him knowing, or quoting from it, the Cannibal Manifiesto (São Paulo, 1928) gives aesthetic sense to the work of Gerardo Cantú exhibited at Museo Mural Diego Rivera under the title Un mismo amor. Vivencias y videncias. Among the phrases adroitly sprinkled here and there to accompany the works, there is one highlighted in red on the triptych that substitutes the catalogue: “with Cantú we arrive at the awkwardness of love, but love still, and perhaps a love more sincere and higher than that which the romantics exalted in their time”, says Ida Rodríguez. Continuar Leyendo →

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A figuration of outrage

Alfredo Gurza
 
 
In June, 2015, at Café 123, Suad, an artist born in Casablanca, Morocco, residing in Mexico City since 2010, exhibited through the One Month | One Artist initiative her piece entitled Entrelazados, (Entwined), a work that distills her artistic practice, accumulated through successive purifying and deepening processes in her studious journey through Lyon, London and New York. It is also the announcement of her new domain: both as knowledge/craft and as a territory for semiotic research. Continuar Leyendo →