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Arte Abierto Tag

20 Feb TANIA RAGASOL – DERIVES OF ART AND ARCHITECTURE 🗓 🗺

Posted at 14:49h in Public Program

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DERIVES OF ART AND ARCHITECTURE

< Arte Abierto > begins its new public program “Derives of Art and Architecture”, a series of routes proposed by guest curators, architects, artists and urban planners to explore a series of architectural spaces and artistic interventions that are historically significant for different public spaces in Mexico City .

The objective of the derives 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.

Each meeting will be guided by a professional in the field to address the importance of these places from the oral narrative and with the intention of generating a dialogue with the attending public.

The derives will be carried out free of charge on the last Saturday of each month, at 12:00 p.m. with a limited capacity.

Next meetings:

February 26: Tania Ragasol / Urban environment, daily life and art: La Torre de los Vientos by Gonzalo Fonseca

Urban environment, daily life and art

Live talk: La Torre de los Vientos
With guest curator Tania Ragasol
Saturday, February 26, 2022
At 12:00h
In Espacio Arte Abierto, located on the second floor of Artz Pedregal
Free admission.

___

No need to register.

Live talk about La Torre de los Vientos by , as an inhabitable sculpture, as an object perched in the urban fabric, as a ghost of the urban landscape and as a witness of the city.

The talk aims to recount the history of La Torre de los Vientos: from the 1968 Olympics in Mexico and its cultural program, to the present day.

A story that weaves personal anecdotes with historical data to recount the existence and future of La Torre de los Vientos and its importance in the contemporary art scene of the 90s in Mexico City.

The talk is based on Tania Ragasol’s account of La Torre de los Vientos in #Visor, a podcast recorded on the @convoynetwork platform.

La Torre de los Vientos (station number 6) was created by the artist and architect Gonzalo Fonseca (Uruguay, 1922 – Italy, 1997) as part of the Friendship Route, a project conceived by Mathias Goeritz with the support of Pedro Ramírez Vázquez, with the objective of creating a sculptural corridor with 19 stations (sculptures) made by artists from the five continents as part of the ’68 Cultural Olympics in Mexico. Currently La Torre de los Vientos is a multidisciplinary art laboratory created in 1996 by Luis Javier de la Torre González in collaboration with Gonzalo Fonseca, which has a current program of artistic experimentation projects.

For more information about La Torre de Los Vientos visit La Ruta de la Amistad website.

Tania Ragasol is an art historian, curator and coordinator of contemporary art projects. She has a career of more than 20 years as a curator, editor and manager, in spaces and institutions such as the Carrillo Gil Art Museum, the Tamayo Museum, inSite_05, the Museum of Modern Art in Mexico City, Casa Vecina and Zona Maco. She currently hosts two shows on the platform @convoynetwork : #Visor, a podcast in which she shares personal and professional experiences about art in Mexico City during the 90s, and #TaniaRagasolEnConvoy, a live broadcast about music and culture.

In addition, she is responsible for the curatorship and conceptual development of projects at Oficina Particular, a cooperative of contemporary art professionals.

18 Feb ART AND ARCHITECTURE DERIVES: TANIA RAGASOL 🗺

Posted at 20:19h in Noticias

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ART AND ARCHITECTURE DERIVES

<Arte Abierto>’s Art and Architecture Derives is a program of routes proposed by invited curators, architects, artists and urban planners, to explore a series of architectural spaces and significant artistic interventions in public spaces in Mexico City. The purpose of the derives is to generate experiences of spatial rediscovery, which renew our view of the legacy of certain architectural and artistic works, both emblematic and forgotten.

The derives are held the last Saturday of each month of 2022 at 12:00 p.m. Free entry. Limited seating.

CONVERSATION: LA TORRE DE LOS VIENTOS

URBAN ENVIRONMENT, EVERYDAY LIFE AND ART

• Live conversation with Tania Ragasol.

• Saturday, February 26, 2022. at 12:00 pm.

• The event will be held at Espacio Arte Abierto, located on the 2nd floor in Artz Pedregal.

• Free admission.

The curator and art historian Tania Ragasol will talk in <Arte Abierto> about the history, importance and present of La Torre de los Vientos, an inhabitable sculpture that can also be thought of as an object perched on the urban fabric, a ghost of the urban landscape and a witness of the city.

La Torre de los Vientos was created by the artist and architect Gonzalo Fonseca (Uruguay, 1922 – Italy, 1997) as part of the Friendship Route (Ruta de la Amistad), a project conceived by Mathias Goeritz with the support of Pedro Ramírez Vázquez, to create a sculpture corridor with 19 stations (sculptures) by artists from five continents.

Part of this story will be revisited from the voice of Ragasol: from the creation of the project in the framework of the 1968 Mexico Olympic Games, to its current cultural program. The talk will be woven with personal anecdotes and historical data that account for the existence and future of La Torre de los Vientos, as well as its importance in the contemporary art scene in Mexico City in the 1990s.

The conversation follows up on the story that the presenter has made of this tower in #Visor, a podcast that she makes for the platform @convoynetwork.

—
Tania Ragasol is an art historian, curator and coordinator of contemporary art projects. She has a career of more than 20 years as a curator, editor and manager, in spaces and institutions such as the Carrillo Gil Art Museum, the Tamayo Museum, inSite_05, the Museum of Modern Art, Casa Vecina and Zona Maco. She currently hosts two programs on the @convoynetwork platform: #Visor, a podcast in which she shares personal and professional experiences about art in Mexico City during the 90s, and #TaniaRagasolEnConvoy, a live broadcast about music and culture. In addition, she is responsible for the curatorship and conceptual development of projects at Oficina Particular, a cooperative of contemporary art professionals.

—
Espacio Arte Abierto is located on the 2nd floor in ARTZ Pedregal (Periférico Sur 3720, Jardines del Pedregal, Álvaro Obregón) Mexico City.

Derivas de Arte y Arquitectura: Tania Ragasol Valenzuela - Charla sobre 'La Torre de los Vientos' de Gonzalo Fonseca

16 Feb CONVERSATION: IRMGARD EMMELHAINZ & SEBASTIEN NOEL 🗺

Posted at 17:00h in Noticias

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CONVERSATION

< ARTE ABIERTO > IS PLEASED TO INVITE YOU TO THE CONVERSATION BETWEEN IRMGARD EMMELHAINZ AND SEBASTIEN NOEL

• February 23 , 2022

• MX 17:00 hr / UK 23:00 hr

• The public will be able to access remotely through https://us02web.zoom.us/j/82238362316

As part of <Arte Abierto>’s public program and the activities of our current exhibition No Sound of Water by the Troika collective, we invite you to attend via Zoom the conversation between the researcher and writer Irmgard Emmelhainz and Sebastien Noel from Troika, taking the exhibition as a starting point, they will address the issues present in this project, such as the Anthropocene, and will make different readings and questions (Materialist Realism / Philosophy of Matter / Art as Image).

The conversation will be carried out in english through Zoom. Irmgard Emmelhainz will stream live from No Sound of Water at <Arte Abierto>.

—
Irmgard Emmelhainz is a researcher and writer. Author, among other books, of Alotropias en la trinchera evanescente: estética y geopolítica en la era de la guerra total (2012), La tiranía del sentido común: la reconversión neoliberal de México (2016), El cielo está incompleto: cuaderno de viaje en Palestina (2017) y Jean-Luc Godard’s Political Filmmaking (2019). She has participated in seminars, courses and conferences at the University of Salamanca, The Americas Society New York, the District University of Bogotá, KASK. Art School in Ghent, Harvard School of Design, the Jumex Museum, SOMA and the Sharjah Biennale in the United Arab Emirates.
Irmgard’s photo by @LakeVerea is part of the project Artists in Presidents by Constance Hockaday, 2021

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Troika’s No Sound of Water exhibition will be open to the public from November 12 to May 15, 2022 at Espacio Arte Abierto, located on the 2nd floor of ARTZ Pedregal in Mexico City..

ARTZ Pedregal: Periférico Sur 3720, Jardines del Pedregal, Álvaro Obregón, Mexico City.

Invitación a la conversación de Sebastien Noel del colectivo Troika y Irmgard Emmelhainz (foto de Irmgard @LakeVerea para el proyecto Artists in Presidents de Constance Hockaday, 2021)

No Sound of Water, Troika en Arte Abierto

27 Jan NO SOUND OF WATER

Posted at 21:12h in Espacio Abierto

NO SOUND OF WATER

11.12.2021 – 05.15.2022

ESPACIO ABIERTO

TROIKA. NO SOUND OF WATER

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.

11 Nov ARTE ABIERTO PRESENTS ‘NO SOUND OF WATER’ 🗓 🗺

Posted at 03:45h in Noticias

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TROIKA: NO SOUND OF WATER

< ARTE ABIERTO > PRESENTS TROIKA’S NO SOUND OF WATER

• No Sound of Water is an immersive, large-format installation that takes the visitor 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.

• Through an installation that simulates a fictitious ecosystem, the collective seeks to reflect on the future of the Earth and its transformation into an inhospitable place as a result of human activity.

• The exhibition will be open from November 12, 2021 to May 15, 2022 at Espacio Arte Abierto located in Artz Pedregal.

<Arte Abierto> presents Troika’s work through two installations that are exhibited for the first time in Mexico: No Sound of Water (2021), commissioned by the Arte Abierto Foundation, and Terminal Beach (2020).

For more than two decades, the Troika contemporary 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 No Sound of Water exhibition, they present two artworks that together form a hostile and desolate landscape that, although it could be thought of as part of a fictitious ecosystem, could become reality as a result of various destructive human actions. Far from stating an ecological discourse or moral, the exhibition focuses on the problems caused by technological, capitalist and industrial advances and the impact they have to such a degree that they cause a new geological era (the Anthropocene) and the eventual decomposition of the Earth. .

No Sound of Water forms part of Troika’s 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 crystal takes centre stage as an agent of cultural evolution, the critical component for the tools without which human civilization could not have developed as we know it.

Troika’s No Sound of Water is open from November 12, 2021 to May 15, 2022 at Espacio Arte Abierto located on the 2nd floor of ARTZ Pedregal: Periférico Sur 3720, Jardines del Pedregal, Álvaro Obregón, Mexico City.

Espacio Arte Abierto is located on the 2nd floor of ARTZ Pedregal in Mexico City ARTZ Pedregal, Periférico Sur 3720, Jardines del Pedregal, Álvaro Obregón, Mexico City.

26 Sep CONVERSATION: IRMGARD EMMELHAINZ AND SEBASTIEN NOEL 🗓

Posted at 16:50h in Public Program

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CONVERSATION

CONVERSATION: IRMGARD EMMELHAINZ AND SEBASTIEN NOEL FROM TROIKA COLLECTIVE

DESCRIPTION

Arte Abierto invites our visitors to the conversation between Irmgard Emmelhainz and Sebastien Noel from Troika.

Wednesday, February 23, 2022
MX 17:00 hr. / UK 23:00 hr.
This event is for everyone through Zoom.
https://us02web.zoom.us/j/82238362316 (this link will only be active on the specified date).
Limited to 500 atendees.
The conversation will be held in English.
This event is free admission, no pre-registration is required.

CONVERSATION: IRMGARD EMMELHAINZ AND SEBASTIEN NOEL FROM TROIKA

Arte Abierto begins its 2022 Educational Mediation and Communication Program with a Zoom event: A conversation between the researcher and writer Irmgard Emmelhainz and Sebastien Noel from Troika, taking the exhibition No Sound of Water as a starting point, they will address the current issues in this project, like the Anthropocene, and they will make different readings and questions (Materialist Realism / Philosophy of Matter / Art as Image).

The conversation will take place in English through Zoom.

Irmgard Emmelhainz will broadcast live from No Sound of Water at Arte Abierto.

Irmgard Emmelhainz is a researcher and writer. Author, among other books, of Alotropias en la trinchera evanescente: estética y geopolítica en la era de la guerra total (2012), La tiranía del sentido común: la reconversión neoliberal de México (2016), El cielo está incompleto: cuaderno de viaje en Palestina (2017) and Jean-Luc Godard’s Political Filmmaking (2019). She has participated in seminars, courses and conferences at the University of Salamanca, The Americas Society New York, the District University of Bogotá, KASK. Art School in Ghent, Harvard School of Design, the Jumex Museum, SOMA and the Sharjah Biennale in the United Arab Emirates.

Irmgard’s photograph was taken by @LakeVerea for Constance Hockaday‘s Artists in Presidents project, 2021.
—
No Sound of Water exhibition by the Troika collective will be open to the public from November 12 to May 15, 2022 at Espacio Arte Abierto, located on the 2nd floor of ARTZ Pedregal in Mexico City.

Free admission.

ARTZ Pedregal: Periférico Sur 3720, Jardines del Pedregal, Álvaro Obregón, Mexico City.

Invitación a la conversación de Sebastien Noel del colectivo Troika y Irmgard Emmelhainz (foto de Irmgard @LakeVerea para el proyecto Artists in Presidents de Constance Hockaday, 2021)

26 Sep AMBULANTE

Posted at 03:38h in Alianzas

AMBULANTE

Ambulante goes to places that have limited access to screenings and education in documentary filmmaking, in a bid to build a participative, critical and informed audience, and to open new channels of expression and reflection in Mexico and in other countries.

Every year, for two months, Ambulante organizes an international documentary film festival that visits different states in Mexico. With an international exhibition of over one hundred films, approximately one hundred guests and more than one hundred and fifty venues, Ambulante promotes documentary cinema throughout Mexico. The tour seeks to widen the traditional exhibition circuits in the country, beyond the commercial film theaters so as to reach different groups.

As of 2019, Ambulante includes < Arte Abierto > as one of its venues in Mexico City. In May, < Arte Abierto > had an open-air screening of four of Ambulante’s documentary films at Artz Pedregal.

26 Sep LA COLECCIÓN JUMEX

Posted at 03:36h in Alianzas

LA COLECCIÓN JUMEX

DAN GRAHAM (United States, 1942)
GROOVY SPIRAL, 2013

Two-way mirror, stainless steel

“My pavilions are always a kind of two-way mirror, which is both transparent and reflective simultaneously, and it changes as the sunlight changes. This relates to the changing landscape, but it also means that people on the inside and on the outside have views of each other superimposed, as each gaze at the other and at the material. It’s intersubjective.”

Dan Graham

Dan Graham’s pavilions are half way between design, art and functional architecture; they are built to create tangible experiences for the public. These works play with perspective and may even disorient the viewer, in a bid to question our everyday perception of spaces.

www.fundacionjumex.org

13 Jul LATIDOS

Posted at 12:57h in Espacio Abierto

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LATIDOS

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.

lozano-hemmer.com/

13 Jul MNEMOSYNE

Posted at 12:49h in Espacio Abierto

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MNEMOSYNE

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).

paolomontiel.com