Espacio Abierto


06.24.2022 – 12.18.2022

Things We Do for Love is a project commissioned by Arte Abierto to visual artist Erick Meyenberg (CDMX, 1980). It is a video-installation and a large-format sculpture that, both together, exposes the poetics of art and its effect in our perception of reality.

The exhibition exemplifies artistic practice complexities and its transformations as resulted from the multiple perspectives and actions intervening in its production. For Arte Abierto it is essential to expose the collaborative nature of art through exhibitions that, such this one, turn out from a process and an exchange of ideas, thoughts and feelings.

Inviting Erick Meyenberg to intervene in our space came up from the interest in bringing us closer to common ideas and concepts, transformed into an intimate reflection through art. Thus, what began as a personal path became a project to recognize how we define our gaze and the meanings that we produced from it.

In those waters, in all the waters, [the human being] hope[s] to see their real image reflection. An image that has been mutilated thousands of years ago. In that situation, lost in thought by the shore, we can find them anywhere. Yearning for what? What they used to be.

–Reinaldo Arenas, The Doorman (1989)

While in an artistic residency in Japan* I was going through a personal situation that made everything seem fragmented. As in any process, the way was guided by intuition and chance. Sometimes you must travel faraway to find your own reflection in other waters. Being unaware then, this journey of reencounter with myself arrived. I thought: How to move in such a foreign world? How to heal and paste the remaining pieces after a fracture?

Camera in hand, I started touring Tokyo, Kyoto, Kanazawa, Hiroshima and Naoshima by land and sea, capturing hundreds of images and life fragments that reminded me of the existence of beauty in everyday life. While recording everything that captured my attention, a phrase always came to my mind giving new meaning to what I was looking at: “Things we do for love”.

Back in Mexico, other lands and other seas showed up. With those waters came a new promise of life. Not knowing why, it seemed that my visual archive of two countries and cultures—so different from each other—was trying to say something. I wanted to find a way to put together these life fragments to transform them into a whole that, in turn, wouldn’t hide the fractures of its history. I found in Kintsugi (a Japanese philosophy that repairs broken objects and beautifies them by gluing the fragments with gold dust) the perfect metaphor to understand video editing as that affective binder capable of intertwining images apparently unconnected. Something that I could only have done with the help of my great friend, editor and filmmaker Martha Uc.

In Things We Do for Love, what once were wounds now are lines of light that accentuate the complex diversity of lived moments in the same story. I decided not to use the images’ real sound, but to experiment with the emotional and suggestive abstraction of electronic music. That’s where my friend and musician Roderic appeared—to me, the power of his music was the perfect light that recovered what had been lived and also a powerful emotional support to merge the collection of filmed moments. The cello—in the musical composition—emerged also because of instinct: Natalia Pérez-Turner’s performance gave the work a great affective-depth.

Later, after looking at a chrysanthemum that I filmed on a Tokyo cemetery ground after falling due to a typhoon, the idea of making a sculpture that would depict the water and the sea force and movement—video’s two recurring elements—came up. A new phrase came to my mind: “the sculpture had to rise from the ground, just as Aphrodite rose from the waters”. Coincidentally, the colors involved in the goddess of love and eroticism mythological birth are tied with Japan’s national colors. Along this path, the sculptor Óscar Garduño and the ceramist Carmen de la Parra helped me to create the sculptural work at Cerámica Suro workshop in Guadalajara.

At the end of this journey, Cuban writer Reinaldo Arenas appeared. Literature always comes just like that: untimely, unexpected, forceful, needed… A new intuition gave life to his text in Louise Phelan and Francisco López-Guerra voices, to whom I dedicate this work.

Just as the space forms a whole with the chrysanthemum petals on the gallery’s floor, the video editing made possible putting together the fragmentary images of my experience, turning out to be a surprising and unexpected ode to life which taught me that, beyond personal experiences, the relentless force reigns tirelessly.

Erick Meyenberg

*Residence for artists Casa NaNo in Tokyo, Japan, sponsored by Fundación Casa Wabi.


Erick Meyenberg is an interdisciplinary visual artist who sees painting as a fundamental element of expression, although he also explores other media such as sound installation, sculpture, drawing, collage,video and performance. His work is the result of an extensive investigation on topics such as literature, history, social sciences and natural sciences. To Meyenberg, art is a tool that helps to unearth that host of historical layers that has been left forgotten, making all the elements come into play to reach an “aesthetic whole”. He also considers video editing as a key process in his work. It is from there where he explores the aesthetic potential of images, where he plays with the possibilities they offer, their relationships, and through precise observations, he discovers new meanings, and new ideas.
Meyenberg graduated from Escuela Nacional de Artes Plásticas (National School of Plastic Arts) at UNAM. He has a Master’s degree in Visual Arts from the Berlin University of the Arts, Germany (UdK, Berlin) where he studied under the mentorship of German artist Rebecca Horn. His work is part of some public art collections such as the MUAC, Museo Amparo, National Institute of Fine Art (INBA), Telefónica Foundation, Museo Tamayo, Benetton Foundation. He has participated in numerous solo and collective exhibitions both nationally and internationally. He is currently part of the Sistema Nacional de Creadores (National System of Creators). Meyenberg lives and works in Mexico City.

RODERIC (Monterrey)

Roderic is the pseudonym of the musician Rodrigo Ortiz. His music is not attached to any specific music genre, but seeks poetic arrangements of emotions that are influenced by jazz, blues, Balkan, psychedelic, African, Latin and trance. His first album was Perfect Mirror (2016) and was preceded by It All Depends (2018).

Martha Uc (México)

She is an editor, photographer, producer and filmmaker. Some of her films and video-editing works are Nos hicieron noche (2021), Sanjuaneros (2020), Ayotzinapa. El paso de la tortuga (2018), The Guy from Oklahoma (2016), Los otros mexicanos (2015), El patio de mi casa (2015) among others. She was director of Estela (2011) and cinematographer of Bajo Tortura (2013) and Estela (2011).

Natalia Pérez Turner

Cellist and improviser. Member of the Generación Espontánea, Filera Trio, and Ensamble Liminar. She divides her time between contemporary music, improvisation and collaboration with artists from other disciplines such as dance, visual arts, theater, performance, literature and children’s shows. She was a FONCA scholarship recipient during the period 2005-06 (performer) with the projects “La cellista es una instalación” (Cellist is an installation) that offered contemporary music recitals for cello performed only at museums and art galleries. She has composed music for short films, video art theater and dance.


11.12.2021 – 05.15.2022



11.12.2021 – 05.15.2022

No Sound of Water is a large-format, immersive installation that takes the viewer into an isolated, salt-filled reality. Being inside, you can feel an atmosphere that transports you to a place that could exist in the future. With this installation that simulates a fictional ecosystem, Troika seeks to reflect on the future of the Earth and its transformation into an inhospitable place due to human activity.

For more than two decades, Troika art collective, formed in 2003 by Eva Rucki (Germany, 1976), Conny Freyer (Germany, 1976), and Sebastian Noel (France, 1977), has sought to challenge our perception of the world and its eventual destruction. For the exhibition ‘No Sound of Water’, they present two works that together form a hostile and desolate landscape that, although it could be thought of as part of a fictitious ecosystem, could become a reality due to the effect of various destructive human actions. Far from enunciating an ecological discourse or moral, the exhibition focuses on the problems caused by technological, capitalist and industrial advances and the impact they have to the point of causing a new geological era (the Anthropocene) and the eventual decomposition of the Earth .

No Sound of Water forms part of their ongoing project Untertage. Meaning ‘below the earth’, or literally, ‘under the day’, Untertage takes shape as an elaborate ecosystemic fiction: its protagonist, salt, is devised as the hero of an aeonian drama of world domination.

The No Sound of Water (2021) installation consists of an industrial processing machine that refers to extractive technologies. Through an upper channel, the structure works like a cascade of salt in constant movement, as if it were an infinite hourglass, to the point of becoming uncontrollable: the salt spills through the room, accumulates in the crevices of the floor or even in the folds of the visitors’ clothes. With salt as the central element, the piece proposes an alternative reading in which this mineral is not only an element of human and natural extinction but, is also responsible for creating an era based on non-organic intelligence and synthetic biology. The very title of the piece alludes to the total absence of a key and organic element such as water.

On the opposite side, the Terminal Beach (2020) video takes place in the middle of a desolate and impoverished territory where the only thing that can be seen is the last tree on the face of the earth and a robotic arm that constantly hits the trunk of the tree with an ax. The harshness of the atmosphere is reinforced by an acoustic background made up of the sounds of lightning, solar winds and geomagnetic storms, captured as radio waves by the British Antarctic Survey. The metaphor of the video is compelling: we are destroying the world that sustains us and every advance of technology, capitalism and industry is also a step towards extinction.

< Arte Abierto > presents Troika, with the exhibition No Sound of Water which will be on display and open to the public at Espacio Arte Abierto located on the 2nd floor of ARTZ Pedregal from November 12, 2021 to May 15, 2022 from Tuesday to Sunday from 12:00 to 7:00 p.m.


06.26.2021 – 09.19.2021



06.26.2021 – 09.19.2021

Luz instante is a journey through a series of optical artifacts that create a sensory continuum. Each piece links light, space and time, while encouraging us to experiment with our bodies. It is an invitation for each participant to own and inhabit the works from their own place. The visitor will create space and immediately activate the works, because when we enter a space the space enters us and the experience becomes an exchange, a fusion between subject and object, the here and now of light constituted by spatial encounters.

This journey through light begins with an outdoor artwork whose projections are activated by sunlight, so that its effects are temporary, intermittent, random. The path changes direction towards the interior of the room, a controlled light appears that becomes a substantial element of optical artifacts. Artifacts arise from phenomena that occur in nature, from everyday situations that we do see but not always observe. In the room, these artifacts become prosthetic extensions of the human body and lead us to dimension spaces that seem unusual, but are there, in our day to day life. They are devices that fuse the object with the subject, the materiality of the specular surfaces with introspection, with emotional impressions and, also, with curiosity. The artifacts transform during the journey, limit the interaction or open it to contain us, dose the sensory involvement, first the eye and then the body, as if we were progressively activating our perceptual capacities.

From her experiments with space, virtual sculptures emerge, geometric and illusory three-dimensional figurations that are discovered inside his kaleidoscopes. ‘Sculptures of light’ Julia calls them, because light is precisely the matter of these pieces. The artworks in this exhibit play with the viewer’s perception within different spaces, causing immersive situations that lead to a unique moment of discovery.

With the exhibition Luz instante, Julia Carrillo moves a part of her experimentation laboratory in which she has worked for several years to Espacio Arte Abierto. Luz instante is the result of her studies on light, on how it creates space, how it allows us to perceive what we inhabit and, in return, how it allows us to recognize moments or distinguish certain atmospheres.


< Arte Abierto > presents Julia Carrillo, Luz instante which will be open to visitors at Espacio Arte Abierto en the 2nd floor of ARTZ Pedregal from June 26 to September 19, 2021.


Julia Carrillo (Mexico, 1987) studied Mathematics at the National Autonomous University of Mexico (UNAM) and completed a Master of Visual Arts at the San Carlos Academy, later on she studied at the New York School of Visual Arts (SVA). She relates her artistic practice with notions derived from mathematics and physics to build an approach to natural phenomena, such as the transformation of space, the movements of light, the travel of sound and the dynamics of fluid forces.

Her individual exhibitions include La luce e la sua assenza at A Pick Gallery (Italy, 2021); Estrofas de agua at Centro Cultural Bucareli 69 (Mexico, 2019) and Geometrías de la Luz at the Complexity Sciences Center (C3), UNAM (Mexico, 2017). She has also participated in group shows in Mexico and abroad. She is a beneficiary of the Young Creators program of the National Fund for Culture and the Arts (FONCA) and of the ACT Program (Art, Science and Technology) of the Ministry of Culture in Mexico / UNAM, to name a few. She has participated as a guest artist in the residency of the Artistic Residency Program Laboratorio Arte A. C. of the Tecnológico de Monterrey, Mexico (2020); MMCA International residency program for artists of the National Museum of Modern and Contemporary Art, Seoul, Korea (2019) and Flux Factory of New York, USA, (2014) among others. She was recently selected artist for the Art OMI residency (2020, now scheduled for 2022).

She is currently a researcher at C3 (Center for Complexity Sciences, UNAM).

To learn more about Julia Carrillo’s work visit



13.MARZO — 13.JUNIO — 2021



The operation model at < Arte Abierto > is based on collaboration with guest artists and experts, who are aligned, with our institutional values and objectives of artistic production with specific contemporary art projects, in their strategies and concepts.

Since 2019 we have been working with Sebastián Romo, founder and creator of Atelier Romo, the result of this significant collaboration is called Atelier Abierto, which due to its pedagogical and participatory lines of work, is one of the most important conceptual components of our Foundation.

Through this program we will develop unique educational strategies and activities to promote direct contact with our audiences.

To establish this physical space, dedicated to our audiences, < Arte Abierto > is proud to present the exhibition Furia y Poesía. 10 years of Atelier Romo. The exhibition recognizes and celebrates this comprehensive and multidisciplinary educational methodology, which rules by the concept of deep education, understood as all knowledge that accompanies us and improves our daily lives.

Working in a space located in ARTZ Pedregal architectural complex, gives us the opportunity to break with the usual circuits of contemporary art and build new audiences and participants from art.

< Arte Abierto > presents the exhibition Fury and Poetry. Atelier Romo 10 Years, opens from March 13th to June 13th, 2021 from 12:00 to 5:00 PM at Atelier Abierto’s space, located on the Ground Floor of ARTZ Pedregal: Periférico Sur 3720, Jardines del Pedregal, Álvaro Obregón in Mexico City.


For ten years Atelier Romo has developed an educational, comprehensive and multidisciplinary methodology based on the arts. Currently, the guiding axis is focused on deep education understood as all knowledge that accompanies us and improves our daily lives.

The methodology consists of integrating the body, thought, culture and art from constant and disciplined practice, into a relaxed work environment that covers all the requirements to apprehend and create without limitations.

Its lines of work are visual thinking and drawing; the basic principles for soft construction, including sewing, electricity and model making; and the development of a final project that has as outputs an exhibition and an editorial publication.

Atelier Romo has had various collaborations with institutions such as the Tamayo Museum, the Alumnos 47 Foundation, the Jumex Collection, various universities and art centers in the interior of the country, and abroad with the Fashion Institute of Technology in New York. Also, he was invited to develop a special project for the XII FEMSA Biennial.

In addition to the five printed monographs that it has compiled throughout its history, it has presented multiple exhibition and film projects in spaces such as Casa Vecina, the Tamayo Museum, the Sala de arte Público Siqueiros, La Tallera, the Visual Arts Center of Mérida and the Cervantes Institute in New York, among others.

Atelier Romo has a special interest on the pre-university community, with the intention of preparing them to know how to live better and to be able to respond efficiently to the historical moment they inhabit.


Sebastián Romo (Mexico City, 1973)
 He studied photography, documentary film and Visual Arts at the National Autonomous University of Mexico.

He has participated in several solo and group exhibitions nationally and internationally.

Sebastián’s work is part of various private collections in Germany, Brazil and the United States. In Mexico, the following stand out: The Jumex Collection, the Museum of Modern Art, the Carrillo Gil Museum, to name a few.

Sebastián Romo, is the founder of the Atelier Romo, a multidisciplinary educational platform for high-performance students, which implements contemporary art strategies to address current problems. The visual thinking academy and the implementation of deep education are some of the projects that are currently being carried out.


08.29.2020 – 01.24.2021

The fact that the heartbeat is widely used as a poetic representation of life and love is due in part to this facility for translation and the universal recognition of the rhythmic sound we first hear in the womb, our mother’s heart, which is then accompanied and superseded by our own.”

– Rafael Lozano-Hemmer

Latidos was the third monographic exhibition on the biometric work of the Mexican artist Rafael Lozano-Hemmer, after those presented at the Beall Center in Los Angeles in 2010 and the Hirshhorn Museum in Washington in 2018.

Incorporating four installations that use heart rate sensors to drive audiovisual and kinetic responses, the exhibition subverts identification and determination technologies to create connective experiences on an architectural scale. In Latidos, the audience’s vital signs were taken to be recorded as repetitive sequences that are displayed as flashing lights, panoramic soundscapes, ripples in tanks, haptic feedback, and animated fingerprints.

At the core of each work, a sensor detects the biometric signature of each participant. This “portrait” or “snapshot” of the intimate electrical activity of the visitor is then added to a live archive with other recordings, creating a landscape of syncopated audiovisuals representing a vast group of participants, delivering the individual’s data to a field of collective readings. The appearance of complex non-linear patterns of syncopation, synchronicity and resonance is evident in all projects, and is reminiscent of the minimalist music of Conlon Nancarrow, Glenn Branca or Steve Reich, for example, where repetitive patterns slightly out of phase with each other create a more complex auditory phenomenon.

The new remote hunches telepresence installation, commissioned by < Arte Abierto >, does not record heartbeats, but rather transmits them over the network between two identical interactive stations where one participant can feel the other’s heartbeat, and vice versa.

Originally this piece was presented as part of the Lozano-Hemmer Border Tuner installation, carried out on the border of the United States and Mexico, with one station in Ciudad Juárez, Chihuahua and the other in El Paso, Texas. For this exhibition, stations were initially interconnected between < Arte Abierto > and the Amparo Museum of Puebla.

RAFAEL LOZANO-HEMMER (Mexico City, 1967)

His work is focused on the development of interactive installations that are at the intersection of architecture and performance. His main interest is to create platforms for public participation, using technology as a language of our time, as an inevitable yet questionable vehicle.

Lozano-Hemmer was the first artist to officially represent Mexico at the 52nd Venice Biennale with Some things happen more times than all the time. He has had solo exhibitions at the San Francisco Museum of Modern Art, the Museo Universitario Arte Contemporáneo in Mexico City, and the Museo de Arte Contemporáneo in Sydney, among others. He has participated in different Biennials and Triennials of art such as Havana, Istanbul, Kochi, Liverpool, Montreal, Moscow, New Orleans, Seville, Seoul, Shanghai, Singapore and Sydney. His work is part of the most important international collections, including MoMA (New York), Tate (London), AGO (Toronto), Jumex (CDMX), DAROS (Zurich), Borusan Contemporary (Istanbul), MUAC ( CDMX), Museum of Contemporary Art 21C (Kanazawa), MAC (Montreal) and the Hirshhorn Museum and Sculpture Garden (Washington, DC).

He lives and works in Montreal, Canada.


29.11.2019 – 29.03.2020

Mnemosyne is an exercise around Paolo Montiel Coppa’s light research.

<Arte Abierto> presented for the first time Mnemosyne by Paolo Montiel Coppa, a large-scale installation that the visitor could get inside in order to appreciate visual and sound displays. Presented as a giant walkable kaleidoscope, it offered viewers an immersive experience, generated by one of the simplest principles of optics: the reflection of light.

Made up of stainless steel structures with a mirror finish and LED lighting, the installation was accompanied by an audio and video-projection system with which a triangular kaleidoscope 15m long by 4m high was formed. When walking through it, the infinite reflections of light discovered thousands of geometric shapes combined with changing colors that mixed, giving the impression of floating in space.

The purpose was to create a physical space fed with games of light, which would enable the memory of the public to be activated to connect with their creativity and evoke in them different emotions that would promote a contemplative-emotional-meditative moment.

Mnemosyne was manufactured by Metalglez.

PAOLO MONTIEL COPPA aka TANSEN (Cuernavaca, 1977)

He is a physicist from the Autonomous University of the State of Morelos (UAEM) and has studies in Art Theory at the Morelense Center for the Arts and Art History at La Salle University. His research focuses on the properties of color, how it is perceived by the human body and how its reflection in memory occurs through light. Tansen has developed lighting installations in the Mexico Pavilion at the 2015 Milan Expo, Kukulkán Nights at the Chichén Itzá pyramids and the pieces White Canvas, Cycles and Outside, the latter presented at the Day for Night festival in Houston, Texas. Likewise, working in the technical direction with artists such as Kurt Hentschlager with ZEE (Ars Electrónica, México 2010), AntiVJ with The Ark (Festival Proyecta Oaxaca) and James Turrell with Pasajes de Luz (Museo Jumex, 2019), Encounter (Jardín Botánico de Culiacán , 2015), Agua de Luz (in the Yucatan jungle, 2012), Tree of Light (Hacienda San Pedro Ochil, Yucatan, 2011).


09.14.2019 – 11.30.2019

In September 2019, the New York based collective Illegal Art presented for the first time in Mexico three projects in Artz Pedregal: Last Word, Suggestion Box, What Color Are You? and the installation commissioned by <Arte Abierto>, Measure Up. Each one encouraged the participation of the public, as a creative-collective experience.


There are always things that are not said, that we keep and remain within us. The installation can be the perfect ending to a conversation with a stranger, an intelligent response in a debate at work, a farewell to a loved one and, above all, a space for opportunities to have the last word that we have lost.

The Last Word provides an intimate moment to take back what was never said. The public can write their “last word” on a piece of paper, then roll it up and place it in small cavities in a cardboard wall that resemble the shape of a honeycomb.

The rolled-up papers in which thoughts and emotions were captured can be read by other people who decide to participate, thus accessing a repertoire of diverse ideas and reflections.

Everyone is free to take part or limit themselves only to reading what others have written and to make collective reflections. The words respect individuality, but reveal that the experience is greater when the participation is collective. The work grows with the contribution of the public. Perhaps with these exercises we can get closer to understanding concepts such as happiness, sadness, desires and take advantage of the moment of self-reflection that art offers.

The Last Word was activated from September 14 to October 12, 2019. The piece remained until November 9, 2019 at Artz Pedregal.


For this action, people in different parts of Mexico City were asked to write down a suggestion, idea or thought of any kind on a piece of paper, and place it in a small slot included in a transportable cardboard box. Once the boxes were filled with suggestions, they were compiled and posted on <Arte Abierto> social media as anonymous thoughts.
Suggestion Box has traveled to three continents and been activated by individuals and groups in local communities, collecting the ideas of tens of thousands of people in numerous languages. In 2005, Chronicle Books published a compilation of suggestions made in New York under the title Suggestion.

Suggestion Box was activated from September 20 to October 12 at different locations in Mexico City and the boxes were opened with Otis Kriegel, co-founder of Illegal Art, at Espacio Arte Abierto.


In this activation, each participant was invited to paint on a blank 3 x 3 inch (7.62 x 7.62 cm) paper the color that they felt essentially represented them as people. Subsequently, they were asked to place it on a checkered panel, next to each other. The result was a mosaic full of different shades, representing hundreds of people related by a physical space.

The public was invited to participate in What Color Are You? from October 5 to November 9. The piece remained on display until November 29, 2019 at Artz Pedregal.


At one point or another, we’ve all looked up to public figures, from movie stars and athletes, to activists, explorers, scientists, and artists. Giants in their fields, they have adorned magazines and screens to be larger than life within our minds. But how big are they in real life? Can we measure up to them?

Measure Up is a project commissioned by <Arte Abierto>, which plays with the international growth indicator of childhood: the frame of the home door marked with centimeters. Along an outdoor path, wooden structures were placed, simulating these frames, each indicating the height and the names of well-known personalities of culture, science or history, whom we admire or aspire to resemble.

The intention was to put things in perspective and that, through their height, each participant could identify and create a bond with these characters.

Measure Up was activated in Artz Pedregal from October 12 to November 30, 2019.


The Illegal Art collective was founded in 2001 by artists Otis Kriegel and Michael McDevitt in New York. Their goal is to create participatory public art that inspires self-reflection, thought, and human connection. Each piece is presented or distributed in such a way that participation is simple and motivated. His projects have been presented in countries such as the United States, England, Spain, Italy, China, New Zealand, among others.



17.07.2019 – 29.09.2019

Squidsoup’s walkable installation consists of 5,200 points of light suspended in space through thin and vertical ropes, which respond to the presence of the viewer, creating a sensation of movement and an immersive experience.

Submergence transformed the <Arte Abierto> space into a hybrid environment, in which the virtual and physical worlds occur. The artwork is activated through a light and chromatic game in correspondence with the sound. This dynamic sensation manages to create an abstract narrative, which increases until it reaches a final climax. The visitor that entered Submergence had the opportunity to have a light, auditory and spatial experience.

Submergence is a Squidsoup project, directed by Anthony Rowe, Gaz Bushell, Liam Birtles, Ollie Bown, and Chris Bennewith. It has been presented in more than 40 spaces and events around the world.


Is an international group of artists, researchers, technologists and designers based in the United Kingdom, working with experiences in digital and interactive media. Their projects combine physical and dynamic digital spaces with novel and intuitive forms of interaction, in order to produce immersive, receptive and captivating experiences.

They have exhibited at multiple events and venues around the world, such as: Salisbury Cathedral, Sydney Opera House, Usina del Arte in Argentina, Visual Art Week in Mexico, Burning Man in the United States, the Glastonbury Festival, TATE Britain, among others. .

Squidsoup’s work can be experienced online at and in shared spaces, physical and virtual facilities, in games and software tools.

Submergence was open to the public from July 7 to September 29, 2019 in Artz Pedregal, ground floor.


30.11.2018 – 30.01.2019

With a sophisticated programming of more than 300 lights and an immersive audio design with original musical pieces, the White Canvas installation managed to converge art and technology in the same space. The intention was to create an immersive experience of light and sound that would take people on a journey through the senses, stimulating their imagination and enhancing their creativity.

Presented in multiple cities, this is one of Cocolab’s most original and successful projects, which has inspired people inside and outside of Mexico to explore new paradigms of creation based on collaboration and the development of ideas.


This is a collective that seeks to create experiences that inspire in a positive way, by creatively combining art, technology and entertainment. Each project integrates various resources, such as video, audio, interactive technologies, special effects, lighting, scenography, industrial design, content, programming and show control. The development of innovative experiences starts from the collaboration with creators, talents and experts from very different fields, which enriches them in a very particular way.