August 2024

Fundación M / Moisés Cosío

IVÁN KRASSOIEVITCH (Mexico, 1980)
LAS BANANAS SON UN EJEMPLO, 2016

Poured concrete and metal

This sculptural piece proposes a ludic reflection in which a series of elements related to the shape, the use and the name of the object represented coincide: an inflatable aquatic banana. Being produced in concrete and weighing 6 tons, this piece generates, in the first instance, a contrast in meaning with the lightness, flexibility and color of these inflatable models. By canceling its fun function, this artifact reproduced to scale, acquires a static and terrestrial character; gravity comes into play not only because of its massiveness but because it cancels the ultimate goal of the adventure: falling into the water from the banana when it is in motion.

The title has as its starting point the following poem: Bananas are an example. This very short work, written by the North American writer, Bruce Andrews in 1972, provides Krassoievitch’s sculpture with a series of questions about the nature of language and the ambiguity between general ideas and specific examples that we use to explain something or a situation.

Fundación M / Moisés Cosío. Piece on loan to Arte Abierto Foundation.

Las bananas son un ejemplo is a sculpture that invites the public to climb on.

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Fundación M / Moisés Cosío
Established in 2007 by Moisés Cosío Espinosa, Fundación M’s mission is to contribute to research on education and contemporary culture, promoting the career of young artists through the acquisition of works and financial support for educational projects. The Foundation’s collection is made up of the art collection and artists’ books, as well as the specialized library. The collection has more than 700 pieces made by both Mexican and foreign artists in media such as painting, graphics, drawing, sculpture, installation, photography, collage, digital art, textiles, and video pieces.

www.fundacionm.org/

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Iván Krassoievitch (Mexico, 1980)
He studied Industrial Design at UAM-Xochimilco. His working method focuses on the appropriation, intervention and re-contextualization of images and objects, creating two and three-dimensional works whose objective is dialogue with the viewer, leading him – through humor – to reflect on the lack of autonomy in certain acts: chance. As well as on the absurdity of everyday life.
His work has been exhibited in Mexico in places such as: Museo Universitario del Chopo, Museo de Arte Moderno, Centro Cultural España, Museo de San Carlos, Proyecto Paralelo, Galería Machete and MUCA Roma. As well as in different spaces in countries such as Finland, United States, Denmark, Colombia and France among others. He has completed the following artist residencies: Arteles, Finland (2013); Casa Wabi, Oaxaca, Mexico (2015); CAPC Museé d’Art Contemporain, Bordeaux, France (2016).

He has 4 editorial projects:

-Volume (2000-2004)
-Protection against Destiny (2013)
– Ø (2016)
-Eras Magazine (2017)

Iván lives and works in Mexico City.

IG @ivankrassoievitch
cargocollective.com/krasso/

ART & ARCHITECTURE DERIVES

Visions of the fallen Altepetl: A story of Tlatelolco through art

Balam Bartolomé

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Visions of the fallen Altepetl: A story of Tlatelolco through art

Conversation with Balam Bartolomé

  • Saturday, August 31, 2024
  • 13:00h
  • At Arte Abierto | 2nd floor Artz Pedregal
  • Free admission

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No registration required.

Tlatelolco is possibly one of the best-known modern architectural projects in Mexico City, not only for its design but for its historical relevance throughout different periods: the pre-Hispanic era, its colonial past and today. It is a site that has gained particular relevance within citizen memory.

This Derive is a review of some artistic projects carried out by the artist Balam Bartolomé in the Tlatelolco area, works that refer equally to public space, as well as its gardens and buildings, from the Mesoamerican era to the modern dystopia. The projects and works make visible the historical layers that is Tlatelolco, and how the ancient island makes the past coexist with the present in its perimeter, by drawing a map and a route for the national future.

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Balam Bartolomé (Ocosingo, Chiapas)
He is a visual artist from UNAM. His work seeks the relationship between contemporary cultures and their past, based on the study of matter and its history. Co-director of the Bienal Tlatelolca. Beneficiary of The The Pollock-Krasner Foundation, Jumex Foundation, Patronato de Arte Contemporáneo, the Artistic Residencies Program, Young Creators and the National System of Art Creators. He has exhibited in North, Central and South America, Europe and Asia. She has been an artist in residence at Flora Ars+Natura (Colombia), Casa Wabi (Mexico), Arte ERA (Uruguay), Sculpture Space (USA), Bemis Center for Contemporary Arts (USA), International Studio & Curatorial Program (USA) and Nordic Kunstnarsenter (Norway). His solo exhibitions include Mexímoron at the Museo Nacional de las Intervenciones and Revés at the Museo Carrillo Gil. His group exhibitions include: Poli/Gráfica in Puerto Rico (USA), 1st BIENALSUR (Argentina), 1st Bristol Biennial (England) and 15th Tallinn Triennial (Estonia).

IG @balam_b
IG @bienaltlatelolca

Arte Abierto continues with its new public program Derivas de Arte y Arquitectura (Art & Architecture Derives), which seeks to renew our gaze on the architectural legacy of Mexico City. From a series of talks focused on rescuing the parallel stories of emblematic architectural projects and public spaces that have witnessed the variable intersection between art and architecture. In this first stage, the program deals mainly with modern architecture, based on a series of talks given by invited curators, architects, artists and urban planners.

With this program, ways of returning to architecture part of its public, experiential, collective character and close to those of us who inhabit the city are tested, recognizing in it its condition as a living archive. From these talks, circumstances, contexts and anecdotes are revealed that have been part of his sensitive memory and that complement his material memory, a relationship that often escapes documentary narratives and academic accounts.

The objective of the drifts is to generate experiences of spatial rediscovery, which allow us to renew our gaze on the legacy of certain emblematic architectural and artistic works, as well as those that have been forgotten.

The derives will be carried out free of charge on the last Saturday of each month, at 1:00 p.m. with a limited capacity.

Arte Abierto Derives :

February 26: Tania Ragasol / Entorno urbano, cotidianidad y arte: La Torre de los Vientos by Gonzalo Fonseca

March 26 : David Miranda / Del Animal Herido y otros eventos escultóricos dentro de la arquitectura moderna

April 23: Gustavo Lipkau y Xavier Hierro / Integración plástica de los edificios del campus central de CU: sus murales

May 28: Marisol Argüelles / La casa-estudio Diego Rivera y Frida Kahlo. Del espacio doméstico a la dimensión de lo público

June 25: Luis Javier de la Torre/ La Ruta de la Amistad MÉXICO68… más allá de 1968

July 30: Aldo Solano/ Architecture for playing in 20th Century Mexico City.

August 27: Christian del Castillo/ Tracing the modern in the architecture of the Historic Center of Mexico City.

September 24: Juan José Kochen/ The Ideal of the Multifamily Apartment cComplex.

October 29: Tania Candiani/ Quantum Prelude. Sound activation by Tania Candiani.

March 25: Ana Garduño/ Cultural Geographies: The invention of museum circuits in 20th century Mexico City.

May 27: Rebeca Barquera/ The Plastic Integration Movement México: More than murals on buildings.

June 17: Julián Arroyo Cetto/ Max Cetto in the beginning of El Pedregal.

July 29: Peter Kriegel/ The eco-aesthetics of El Pedregal and constructive botany in the megacity of Mexico.

August 26: Arturo Rivera García y Roberto Bustamante Castrejón/ Jardines del Pedregal Legacy: Memory and Identity.

September 30: Tonatiuh Martínez/ The garden as an extension of nature.

October 21: Lorena Botello/ Clara Porset’s Design: Between Tradition and Modernity.

March 23: Alejandro Ochoa Vega y Francisco Haroldo Alfaro Salazar/ Cinemas in Mexico in the 20th Century: Distant Spaces in Memory.

April 20: Rodrigo Torres Ramos / Pictorial Functionalism: The proposal for plastic integration of Mario Pani and Carlos Mérida.

June 22: María Bustamante Harfush / Public work and collective housing by Abraham Zabludovsky.

July 27: Veka Duncan / El Art Déco en México. La nacionalización de la modernidad

August 31: Balam Bartolomé / Visiones del Altépetl caído: Un relato de Tlatelolco desde el arte

Lanzamiento del libro Cositas y clausura

  • The launch of the book Cositas is August 10th. Mario García Torres will be attending.
  • Cositas exhibition by Mario García Torres last day will be August 11, 2024.
  • Composed of 6 works designed for the Arte Abierto Cositas is García Torres’ first solo exhibition outside of conventional art spaces.

 

Mexico City, August 6, 2024.- Regarding the end of Cositas, Arte Abierto and Mario García Torres announce the publication which emerges from the exhibition, with a get-together that moves away from conventional book presentations. General public is invited this August 10th starting at 1:00 pm to visit Cositas before its closing, which is on Sunday, August 11th.

The book will be on sale starting August 6, 2024. There will be a discount on the purchase of the book during the closing week of Cositas.

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Cositas by Mario García Torres is an exhibition that links together different moments in history, as well as different images, characters, musical references and ways of perceiving and reading the signals of the world around us. In its rooms, the music that resonates in the installations are key, traveling throughout the space to intersect between the corridors.

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