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Arte Contemporáneo Tag

11 Apr ART AND ARCHITECTURE DERIVES – GUSTAVO LIPKAU & XAVIER HIERRO 🗺

Posted at 18:15h 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 WITH

GUSTAVO LIPKAU & XAVIER HIERRO

PLASTIC INTEGRATION OF THE BUILDINGS OF THE CENTRAL CAMPUS IN CU: ITS MURALS

• Live conversation with Gustavo Lipkau and Xavier Hierro.

• Saturday, April 23, 2022. at 1:00 pm.

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

• Free admission.

A conversation with Gustavo Lipkau y Xavier Hierro about the buildings of the central campus of Ciudad Universitaria, in Mexico City, and its murals.

The Central Campus of the UNAM is an architectural complex in which engineers and artists jointly participated with the intention of merging disciplines such as architecture, painting and sculpture, under what became known as Plastic Integration. In this talk, Gustavo Lipkau and Xavier Hierro will address the processes and searches of this movement and how it is reflected in eight fundamental buildings and murals on the university campus. It will be a conversation where, beyond theory, the architects will share events and anecdotes around the construction of this key space for Mexico City.

—

Gustavo Lipkau Henríquez (Caracas, 1972) is an architect and urban planner.

He studied Architecture at UNAM and has been a visiting professor at universities both in Mexico and abroad. In 2000 he co-founded Futura Desarrollo Urbano (FDU), and between 2010 and 2012 he founded and coordinated the “Microurbanismo de Casa Vecina” workshops, of the Fundación del Centro Histórico de la Ciudad de México A.C. and “Observatory of the City” in the Faculty of Architecture of the UNAM. Since 2015 he is part of Luxmart Futura S.A de C.V, a company dedicated to activities in industry, commerce, energy, and sustainability.

—

Xavier Hierro Ozores (Mexico City, 1973) is a graduate of the UNAM Faculty of Architecture.

He has 14 years of uninterrupted attendance as a student and apprentice teacher. He has dedicated himself to the professional practice of design for more than 25 years, acting as coordinator of multidisciplinary work teams focused on the production of infrastructures for education, health, security and public space. In parallel, he has added experience in the design and manufacture of furniture, production of audiovisual works and installations and, more recently, in large-scale painting.

—

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. Conversación con Gustavo Lipkau y Xavier Hierro sobre Integración plástica de los edificios del campus central de CU, sus murales. Arte Abierto

18 Mar ART AND ARCHITECTURE DERIVES – DAVID MIRANDA 🗺

Posted at 12:30h in Noticias

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ART AND ARCHITECTURE DERIVES

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

CONVERSATION: DAVID MIRANDA

OF THE WOUNDED ANIMAL AND OTHER SCULPTURAL EVENTS
WITHIN MODERN ARCHITECTURE

• Live conversation with David Miranda.

• Saturday, March 26, 2022. at 1:00 pm.

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

• Free admission.

A conversation on urban sculpture projects of Mathias Goeritz in Mexico.

In 1951 Mathias Goeritz made the sculpture Animal herido. From that moment on, an urban dialogue began between sculptural and architectural production of modernity in Mexico that forms a unique distinctive in Latin America. The curator and artist David Miranda will talk about all the projects of the artist and teacher of German origin.

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David Miranda has a Master’s degree in Curatorial Studies at the Faculty of Philosophy and Letters at UNAM and the Bachelor of Fine Arts at the National School of Painting, Sculpture and Engraving ENPEG “La Esmeralda”. He was coordinator of the Aesthetic Education project in Mexico City, by the Mexican Institute of Art at the Service of Education (IMASE) in collaboration with the Lincoln Center Institute in New York (2003-2005). In 2011 he received the FONCA Young Creators Scholarship. His artistic work has been shown in various cultural institutions in Mexico, Colombia, Chile, Spain and the United States. Since 2005 he has combined his artistic activity with his work as a curator at the El Eco Experimental Museum. He is a member of the PAE (Art Education Platform) and is currently a professor at ENPEG, La Esmeralda.

—
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. Conversación con David Miranda sobre escultura de Mathias Goeritz en espacio público en México. Arte Abierto

18 Feb ART AND ARCHITECTURE DERIVES: TANIA RAGASOL 🗺

Posted at 20:19h in Noticias

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ART AND ARCHITECTURE DERIVES

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

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.

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

13 Jul ILLEGAL ART

Posted at 12:43h in Espacio Abierto

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ILLEGAL ART

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.

THE LAST WORD

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.

SUGGESTION BOX

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.

WHAT COLOR ARE YOU?

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.

MEASURE UP

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.

ILLEGAL ART

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.

illegalart.org/

@illegalart2001.

13 Jul SUBMERGENCE

Posted at 12:42h in Espacio Abierto

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SUBMERGENCE

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.

SQUIDSOUP

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 squidsoup.org 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.

13 Jul WHITE CANVAS 🗓

Posted at 12:40h in Espacio Abierto

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WHITE CANVAS

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.

COCOLAB

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.