While the two larger fairs that make up Mexico City’s Art Week take the form of a standard fair, Salon Acme is set in the city’s Colonia Juarez in a Porfiriato-era house that was once the home of Alberto Robles Gil and abandoned for many years. I went. Its defense in 2014. This setting between two buildings, with its dilapidated walls, interior courtyards and grand staircases and balconies gives the fair a unique atmosphere, unmatched elsewhere on the international fair circuit.
In addition to hosting presentations from approximately 30 galleries, Salon Acme also has an open call section that will showcase the work of 80 artists drawn from more than 1,800 applications and selected by the curatorial board, which this year includes Chicago-based collector Benedicta Badia. Also included. Artist Dario Escobar, and Pati Hertling, director of Performance Space New York. The performance in this section is particularly strong. Additionally, another special section focuses on artists based in a particular state of Mexico; This year it is Nuevo León, whose capital, Monterrey, is one of the country’s industrial centres.
Below, take a look at the best exhibits at Salon Acme, which runs until February 11 on Calle Gral. Prime 30, Juárez, Cuauhtemoc, 06600 Cuauhtemoc, CDMX.
Exhibited in the Open Call section, Enrique Argote presents a lively sculpture: inside a vending machine – which is probably more than 30 years old – are small souvenirs of pre-Columbian artifacts that he purchased from Mexico City’s Museo Nacional de Antropología Were. In the work, Argote is taking direct aim at the fetishization of pre-Hispanic cultures, particularly among tourists visiting Mexico. The vending machine is fully operational, costing 90 pesos (about $5.27). But once you enter your money and choose your tote, it will likely be scattered. You can only take the leftovers home with you.
Eugenia H. Avila
A powerful installation by Eugenia H. Avila is another highlight of the open-call section. To create these works, Ávila traveled to the state of Michoacán, just west of Mexico City. There she spoke to many women who had been raped or who were victims of domestic violence in their homes, whether at the hands of their partners, fathers, or other men in their lives. He then translated their stories into a series of belts, which are printed with excerpts of the violence committed against them. One reads, “Gessner fue me pareja durante seis anos. Cinco me golapeo.” (Gessner was my partner for six years. Five killed me.) Another, “Alfredo me viola mientras dormia en la cama de su hermana.” (Alfredo raped me when I was at his sister’s. Was sleeping on the bed.) Ávila’s use of the belt here is poignant: an everyday item of clothing can itself become an instrument of violence.
In front of Ávila’s work on a platform in the center of the room are works from Napoleon Aguilera’s “Juego de Villanos” series, an abbreviation of “Juego de Manos es de Villanos” (Hands are clean), a common warning given to children. Have form. for villains) and what sounds like the popular patty cake-esque children’s game Juego de Manos. Each sculpture, made of basalt, is molded into a futuristic, science fiction-inspired gun. Stamped on the grip of each gun is a metal rendering of the actual insignia for a Mexican cartel, which he purchased on the black market. With this work, Aguilera subverts the omnipresent violence of the cartel with humor. “Humor serves as an escape from changing the order of things,” he said in a recent interview with punishment, “I’m interested in how these seemingly harmless objects can also be disturbing, that even if it’s not a joke, the humor is there.”
In a solo presentation courtesy of leading photography dealer Patricia Conde, Margot Kalach is showing her various experiments with the photographic medium that depict the passage of time. The most striking feature is the large-scale installation that rises up to the ceiling like a waterfall. Various materials, including textiles and photographic paper, have been collected together and exposed to iron oxide for varying periods of time, ranging from two weeks to more than a month. This grouping brings together some experiments dating back five years.
Charlie Godet Thomas
Exhibiting with Monterey-based gallery collector, Charlie Godet Thomas has presented an aerial installation featuring a ceiling fan that hangs directly above a table covered with nearly empty wine glasses and beer bottles, which There are remains of a party. There are gold chains hanging from the fan blades with the words “money” and “night” stuck on them. As the fan rotates, they hit the drinking vessels, creating a small glass harp composition that sounds like wind chimes from the upper levels of the fair.
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