Mauricio Limón Galeria Hilario Galguera
Mauricio Limón is an interdisciplinary artist; his practice includes drawing, painting, video and performance. His artistic creation has two main channels. The first one is an exploration around perception through studies of matter, color and the human senses; employing some of these resources, the second one focuses on anthropological and social studies that come from interactions that the artist generates with characters from representative sections of the vast urban landscape from Mexico City. This results in extensive projects which raise the issue of the complexity of the character’s inner world and in the production of works in different techniques that document these happenings altogether.
Mauricio Limón (Mexico City, 1979) was selected for the Rijksakademie Van Beeldende Kunsten two year residency program (2016-2017), was nominated for the Future Generation Art Prize by the Victor Pinchuk Foundation and participated in the XVI Museo Tamayo Biennial in Mexico City. Limón has also been awarded the Jóvenes Creadores Grant by FONCA (2011-2012) and the Pollock-Krasner Foundation Grant (2010).
His solo and group shows include: Los justos desconocidos, El cuarto de máquinas, Mexico City; Buscando la sombra del árbol,Galería Hilario Galguera, Mexico City; Videonale 14, Kunst Museum, Bonn, Germany; Batiente.01 Un momento, DESARCUERDO, Un principio, Casa del Lago Juan José Arreóla, Mexico City; Disponible: A Kind of Mexican Show, Museum of Fine Arts, Boston and San Francisco Art Institute, U.S.A.; An Exchange with Sol LeWitt,Massachusetts Museum of Contemporary Art, Massachusetts, U.S.A.; Versus, Projex-Mtl. Montreal, Canada; Fetiches Críticos, collaboration with Xavier Rodríguez, CA2M Centro de Arte Dos de Mayo, Madrid, Spain; Hecho en Casa, Museo de Arte Moderno, Mexico City.
Elena del Rivero Travesia Cuarto
Elena del Rivero at Travesia Cuarto, Guadalajara
Elena del Rivero has dedicated her work to thoroughly study the diverse written and verbal forms to which human beings engage for communicating personal and intimate experiences, emphasizing into the epistolary format. Assuming the field of everyday life as a space that has multiple symbolic dimensions, the artist rescues certain gestures that through repetition can acquire an expressive capacity and also function as a path of autobiographical exploration, such as the act of mending or repairing certain materials. With these actions, Elena del Rivero interweaves the parallelism between domestic spaces and spaces dedicated to work, such as the studio. The artist has focused mainly in painting and work on paper, but has also produced large-scale installations and performances; always highlighting the receptiveness of the materials and how can they be used as narrative means.
Elena del Rivero was born in Valencia (Spain) in 1949. Between 1971 and 1974 she studied Philosophy at the University of Valencia. In 1975 she moves to Madrid, where she studies painting and drawing at Estudio Arjona, and various intaglio techniques, including aquatint, etching, and dry point, in the Oscar Manesi workshop. She started exhibiting her work in 1977 and had her first solo show in 1980. In 1988 she was awarded the Prix de Rome, and in 1991 she moved to New York City, where she was awarded a Pollock-Krasner Foundation grant. The most important exhibition from her series Letters (Cartas) takes place in 1993 at the gallery Elba Benítez in Madrid. Two years later she takes part in the First Biennal of Johannesburg. In 2001 she was the recipient of grants from the Creative Capital Foundation and the New York Foundation for the Arts. In 2005 she participated in a Rockefeller Foundation residency at the Bellagio Centre, Italy.
In New York her work has appeared at the New Museum, Sandra Gering Gallery, The Drawing Center, Art in General, Dieu Donné Papermill, the Wynn Kramarsky Gallery and the Josée Bienvenu Gallery, among other places. She has also presented her work at the Corcoran Gallery in Washington DC; Anthony Meier Fine Arts, San Francisco; the Whitney Museum of American Art at Champion; Track 16 Gallery, Los Angeles; the Museo Nacional Centro de Arte Reina Sofía (MNCARS), Madrid; the Museo Patio Herreriano in Valladolid and IVAM in Valencia (Spain).
Her work is included is many public and private collections in the United States and Europe, including the MoMA in New York, the Fogg Art Museum at Harvard University, the National Gallery in Washington, the Caja Burgos Collection and Reina Sofía Museum. Del Rivero currently lives and works in New York.
Cerith Wyn Evans Marian Goodman
Cerith Wyn Evans, Arr/Dep (imaginary landscape for the birds), 2006, Marian Goodman
Cerith Wyn Evans’s artistic practice focuses on how ideas can be communicated through form. His conceptual work incorporates a diverse range of media including installation, sculpture, photography, film and text. Evans began his career as a filmmaker producing short, experimental films and collaborative works but since the 1990s has created artworks that focus on language and perception, with a precise clarity towards their manifestation in space. He employs strategies of exhibition making that are often site-specific, viewing exhibitions as a catalyst to produce a reservoir of possible meanings and discursive experiences.
His poetic work has a highly refined aesthetic, deeply informed by film, music, literature and philosophy. Visual or textual sources and ideas are often repeated across different bodies of work, an indication of his desire to keep ideas in play or to bring them back to life as raw material for future use. His works harness the potential of language to create moments of rupture and delight, where desire and reality conjoin, visible in his series of ‘Firework’ sculptures, for example, where wooden structures spell out open-ended texts and fleetingly burn over a designated period of time. These performative sculptures which exist only as a durational event, take on new life when documented through photographs or film. Likewise, in an ongoing series of neon text sculptures, he uses favourite passages of text or the subtitles from films to create open-ended, powerful sculptures that create a retinal after-image in the viewer’s mind, long after their initial encounter.
Cerith Wyn Evans lives and works in London. Major solo exhibitions include the Tate Britain Commission, London and Haus Konstruktiv, Zurich (both 2017); Museion Bolzano, Italy (2015); Serpentine Sackler Gallery, London (2014); TBA-21 Augarten, Vienna (2013); De La Warr Pavillion, East Sussex, UK (2012); Kunsthall Bergen, Norway (2011); Tramway, Glasgow (2009); Inverleith House, Edinburgh (2009); MUSAC, Leon, France (2008); Musée d’art moderne de la ville de Paris (2006) and Kunsthaus Graz (2005). Wyn Evans has participated in numerous international group exhibitions including Skulptur Projekte Münster, Germany and the 57th Venice Biennale (both 2017); ‘Moscow Biennial’ (2011); ‘Aichi Triennale’ Nagoya, Japan (2010); ‘Yokohama Triennale’, Japan (2008); ‘Istanbul Biennial’ (2005); and represented Wales at the 50th Venice Biennale (2003).
Juan Capistrán Galeria Curro
Juan Capistrán, Dreams Are Free, Motherfucker!, 2009, Galeria Curro
Juan Capistrán born in 1976 in Guadalajara, Mexico and he works in sculpture, painting, video, photography, drawing, installation, performance, and sound—whichever method best serves the specific project. A Mexican-born artist who grew up in a predominantly African American neighborhood in Los Angeles, Capistrán deftly maneuvers between subjects ranging from the civil rights movement to punk music to the art of the 1960s, blending practices, references, and themes into subversive critiques of American culture.
Capistrán’s work borrows equally from renowned artists such as Carl Andre, as well as hip-hop, disco, and gang culture, culminating in pieces and performances that often dip into the cool, distant nature of minimalism while referencing the politics inherent in the colored body. Frequently titled with references to pop culture, the work offers a broad entry point that shows Capistrán’s personal history with stark political expression.
inerva
Minerva Cuevas Kurimanzutto
Minerva Cuevas, economy of the imaginary, 2006, Kurimanzutto
Minerva Cuevas, born in 1975 in Mexico City, Through the intervention of images and objects of daily consumption, Minerva Cuevas invites us to rethink the role corporations play in food production and the management of natural resources. Employing irony and humor, her work seeks to provoke reflection on politics and the potential impact of local actions on the enforcement of fair labor practices and the redistribution of monetary flow. Her practice encompasses a wide range of supports –including painting, video, sculpture, photography and installation–, through which she investigates certain power structures that underlie social and economic ties. Her interdisciplinary projects combine aspects of anthropology, product design and economics, in order to explore different ways of intervening in the urban space as well as in museums and galleries. She appropriates the language of the establishment (branding, advertisement and commerce) while delivering a message of non-compliance and resistance. A relentless critic of reality, Cuevas finds her source material by analyzing notions of value, exchange and ownership that rule the capitalist economy, as well as their consequences. Her works serve as tools to discuss the condition of the individual under the capitalist regime: the constant abuse, dispossession and estrangement from ancestral and cultural identity, as well as the latent possibility of revolt implicit in the everyday.
Minerva Cuevas studied a BA in Visual Arts at Escuela Nacional de Artes Plásticas UNAM. In 2004 she attended the Artist Residency Edith-Ruß-Haus für Medienkunst Stipend, in Oldenburg, Germany after having made in 2003 the Deutscher Akademischer Austausch Dienst DAAD, Artist Residency in Berlin, Germany and in 1998 The Banff Centre for the Arts, Artist Residency in Alberta, Canada.
Her most important solo exhibitions include: Feast and famine, kurimanzutto, Mexico City, Mexico (2015); Minerva Cuevas, Museo de la Ciudad de México, Mexico City (2012); Landings, Cornerhouse, Gallery 1, Manchester, United Kingdom (2011); SCOOP, Whitechapel Gallery, London, United Kingdom (2010); Minerva Cuevas, Van Abbemuseum, Eindhoven, Nederland (2008); Phenomena, Kunsthalle Basel, Basel, Switzerland (2007); On Society, MC Kunst, Los Angeles, United States (2007); Egalité 2007, Le Grand Café–Centre d’art contemporain, Saint Nazaire France (2007); Schwarzfahrer Are My Heroes, DAAD, Berlin Germany (2004); Mejor Vida Corp, Museo Tamayo, Mexico City Mexico (2000). Moreover, her work has been included in group exhibitions at institutions such as the,Museo Jumex, Mexico City Mexico (2013); Kunsthaus Bregenz, Bregenz, Austria (2013); Musée d’art moderne de la Ville de Paris (mam/arc), Paris, France (2012); muac Museo Universitario de Arte Contemporáneo, Mexico City, Mexico (2011); KW Institute for Contemporary Art, Berlin, Germany (2010); Centre Pompidou, Paris, France (2010) San Francisco Museum of Modern Art, San Francisco, United States (2008) among others.
She has participated in various biennials, such as the Liverpool Biennial, Liverpool, United Kingdom (2010); the 6th Berlin Biennale for Contemporary Art, Berlin Germany (2010); the 9th Biennale de Lyon, Lyon France (2007); The Bienal do Mercosur, Porto Alegre, Brazil (2007); the 27th Bienal De São Paulo Brasil, Sao Paulo, Brazil (2006); the Tirana Biennale, Kompleksi–Goldi, Tirana, Albania (2005), and The 8th International Istanbul Biennial, Istanbul, Turkey (2003). Minerva Cuevas currently lives and works in Mexico City.
