Condo Mexico City * anonymous gallery, with Relaciones Públicas Hosting Rose Easton, London *
APRIL 11 TO MAY 16 WEDNESDAY TO FRIDAY * 12 – 6PM * SATURDAY * 12 – 4PM *
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anonymous gallery with Relaciones Públicas are hosting Rose Easton (London) with a two person exhibition titled Luxury is personal, by Arlette (Mexico) and Martine Syms (USA). For the exhibition, a new large scale bronze sculpture by Arlette appears in concert with three works by Martine Syms, both multidisciplinary figures whose practices combine memoir, popular culture, gender politics and sex.
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anonymous gallery en colaboración con Relaciones Públicas, invitan a Rose Easton (Londres) con una exposición titulada Luxury is personal, de Arlette (México) y Martine Syms (EE.UU.). Para la exposición, una nueva escultura de bronce a gran escala de Arlette aparece con tres obras de Martine Syms, ambas figuras multidisciplinares cuyas prácticas combinan memoria, cultura popular, políticas de género y sexo.
ARLETTE. Couch, 2024. Bronze. 95 x 150 x 75 cm Courtesy of the artist and Rose Easton, London. Photo by Caylon Hackwith.ARLETTE. Couch, 2024. Bronze. 95 x 150 x 75 cm Courtesy of the artist and Rose Easton, London. Photo by Caylon Hackwith.ARLETTE. Couch, 2024. Bronze. 95 x 150 x 75 cm Courtesy of the artist and Rose Easton, London. Photo by Caylon Hackwith.Martine Syms. Muva Gaia, 2021. Tape, paper. 84.14 × 62.87 × 3.81 cm (framed). Courtesy of the artist, Bridget Donahue, New York and Rose Easton, London. Photo by Caylon Hackwith.Martine Syms. Do you have any poster of… BLACK MOVIES? He understands, 2021 Paper, staples, plastic, ink, glue, indigo prints with adhesive backing 84.14 × 62.87 × 3.81 cm. Courtesy of the artist, Bridget Donahue, New York and Rose Easton, London. Photo by Caylon HackwithMartine Syms. Do you have any poster of… BLACK MOVIES? He understands (detail), 2021 Paper, staples, plastic, ink, glue, indigo prints with adhesive backing 84.14 × 62.87 × 3.81 cm.Martine Syms. Luxury is personal, 2021. Paper, staples, plastic, ink, glue, indigo prints with adhesive backing. 84.14 × 62.87 × 3.81 cm. Courtesy of the artist, Bridget Donahue, New York and Rose Easton, London. Photo by Caylon Hackwith.Martine Syms. Luxury is personal (detail), 2021. Paper, staples, plastic, ink, glue, indigo prints with adhesive backing. 84.14 × 62.87 × 3.81 cm. Courtesy of the artist, Bridget Donahue, New York and Rose Easton, London. Photo by Caylon HackwithMartine Syms. Luxury is personal (detail), 2021 Paper, staples, plastic, ink, glue, indigo prints with adhesive backing 84.14 × 62.87 × 3.81 cm. Courtesy of the artist, Bridget Donahue, New York and Rose Easton, London. Photo by Caylon Hackwith
Condo is a collaborative exhibition by 42 galleries across 20 Mexico City spaces. Host galleries share their spaces with visiting galleries – either by co-curating an exhibition together dividing their galleries and allocating spaces. http://condocomplex.org/mexicocity/
anonymous gallery se enorgullece en anunciar su regreso a la Ciudad de México, donde ha abierto un espacio en la colonia San Miguel Chapultepec, siguiendo simultáneamente su programación en Nueva York. anonymous operó en la Ciudad de México de 2012 a 2018 y espera volver a comprometerse con una misión de cooperación internacional, colaboración y diálogo entre latitudes, organizando entre cuatro y cinco exposiciones al año, que a veces coinciden con residencias para artistas, curadores y una serie de intercambios colaborativos.
El nuevo espacio de la galería cuenta con unos 120 metros cuadrados de espacio expositivo principal, un patio destinado a obra concebida para exteriores y un espacio de proyectos con oficina. El espacio de proyectos estará dirigido por Antonella Rava, Directora Asociada de la galería en Ciudad de México, y fundadora deRelaciones Públicas (RP), un proyecto que ha funcionado como galería, editorial, organización artística, secta, grupo de apoyo, sindicato, club de striptease; y como herramienta global para crear recursos que hagan posibles los proyectos artístico“. La colaboración permitirá a RP disponer de un espacio para continuar con su programación, al tiempo que se integra en las actividades de anonymous. RP @ anonymous inaugurará su primera exposición con Luis Campos durante la semana del arte de la CDMX 2024.
La primera exposición de anonymous gallery Equis, Y Griega, Zeta (mx) se centra en tres generaciones de artistas de México. Organizada por primera vez en la ciudad de Nueva York, la exposición regresa a casa, reimaginada, donde inaugurará el nuevo espacio de anonymous gallery en la ciudad de México. El selecto pero significativo grupo inter-generacional de artistas de la Ciudad de México que reúne la muestra, influyem en la erudición del arte no sólo en México, sino en el mundo: Wendy Cabrera Rubio, Miguel Calderón, Tomás Díaz Cedeño, Samuel Guerrero, Adriana Lara, Berenice Olmedo y José Luis Sánchez Rull. La exposición también reconoce y agradece el apoyo de la comunidad de galerías que consignaron obras para la exposición: General Expenses, kurimanzutto, Lodos, and Peana.
Wanna come to our mercha sale & drinks event on Friday May 19th? Write us an email 🙂
NOCHE MÁQUINA, by Maggie Petroni. Ltd. ed. 10 unique.NOCHE MÁQUINA, by Luis Campos. Ltd. ed. 10 unique.NOCHE MÁQUINA, x Luis Campos – frontNOCHE MÁQUINA, x Luis Campos – backBag.
JOSUÉ GONZÁLEZ
Solo show :: organized x Luis Campos :: @ Relaciones Públicas Fine Arts December 2022
A feeling that lives in the private and hidden domain of sovereignty.
There is a void that occupies most of the space where melancholy expands. We’ve built our security with somatized fictions, in this case the home of thought becomes a prison. Space is not a place but a moment, a promise of futility that maintains the sense of survival, not biological but sometimes philosophical.
Painting, as we all know, carries the history of itself. However, it goes through an emotional uncertainty, sumerging us in an indescribable condition. The distinction between feeling and knowing is simply a void we fill with emotion. Is suffering a value for existence or a cosmetic sacrifice? Is the price to pay desire without access? The systematic relationship between perspective and memory… The material at a formal level suspends a multiplicity of durations and the art exhibitions overlap them.
Josué Gonzáles’ work is autotelic; it exposes an urban experience permeated by a policy of passionate repression in a state of repetitive euphoria and loss. Let’s think about the ways in which the process, material and time are related, the blurring of the border between the abstract and the figurative. It is an experience that resembles a memory, or a dream, that resists linear time, because it involves the use of multiple temporalities. Then, with a veil of mystery, the paintings move through time leaving a trace. An immediate void that cannot be filled but that synthesizes the weight of the absence. This exhibition is, in many ways, paranormal, depicted in a dream device. The melancholy can be a gesture, inscribed towards the future despite the memory; aspiring the impossibility of experiencing the present, but what is the present but a moment that we transit?
So let’s combine the individual and collective experiences of what happens in space in order to figure out how we can narrate each other. If the most terrible thing has already happened, now we are just navigating a state of infinite trauma. The imagery in this exhibition speaks through nightmares; a cluster of colors and images that at times we think we recognize; parts of skeletons, spaces, which are then lost in other forms where nothing makes sense. It is within that uncertainty we believe that the most terrible thing is about to happen. The paintings are not symptoms of anything, but ARE themselves.
LO MÁS TERRIBLE SE APRENDE RÁPIDO Josué González
Un sentimiento que habita en el dominio privado y recóndito de la soberanía individual.
Existe un vacío que ocupa la mayor parte del espacio y es allí donde se dilata la sensación de melancolía, hemos construido nuestra seguridad en ficciones somatizadas, en este caso el hogar del pensamiento abstracto se convierte en una prisión. El espacio no es un lugar sino un momento, una promesa de futilidad que mantiene alerta el sentido de supervivencia, no biológico sino a veces filosófico.
La pintura, es sabido, carga la historia de sí misma. Pero nos atraviesa de una incertidumbre emocional, sumergiéndonos en una condición indescriptible. Entre ver y saber hay una brecha que nosotros rellenamos de emoción ¿Es el sufrimiento un valor para la existencia o un sacrificio cosmético? ¿Acaso el precio es querer y no acceder?
La sistemática relación entre la perspectiva y la memoria… El material a nivel formal suspende una multiplicidad de duraciones y las exhibiciones de arte superponen esas duraciones múltiples.
La obra de Josué Gonzáles es autotélica; expone una experiencia urbana permeada por una política de represión pasional, en un estado de euforia y de pérdida repetitivas. Pensemos las formas en las que se relacionan el proceso, el material y el tiempo, lo borroso de la frontera entre lo abstracto y figurativo. Es una experiencia que se asemeja a un recuerdo, o un sueño que se resiste al tiempo lineal, porque involucra el uso de múltiples temporalidades. Entonces con un velo de misterio, el tiempo profundo de la pintura funciona como una huella del paso.
Un vacío inmediato que no puede ser llenado pero que sintetiza el peso de la ausencia. Esta exposición es, en muchos sentidos, una experiencia paranormal, representada en un dispositivo de ensoñación. La melancolía puede ser un gesto, inscrito hacia el futuro a pesar del recuerdo; una aspiración en la imposibilidad de experimentar el presente, pero ¿qué es el presente sino un momento que transitamos?
Sumemos pues las experiencia individuales y colectivas de lo que acontece en un espacio y cómo es que podemos narrar o narrarnos mutuamente.
Si lo más terrible ya ocurrió, ahora solo andamos navegando un estado de trauma infinito. El imaginario en esta exposición son pesadillas; un cúmulo de colores y de imágenes que por momentos creemos reconocer; partes de esqueletos, espacios, que luego se pierden en otras formas donde nada tiene sentido. Y dentro de esa incertidumbre creemos que lo más terrible está por ocurrir. Las pinturas no son síntomas de nada, sino que son en sí mismas. La descripción anecdótica pierde fuerza en el momento en que lo que sentimos no es suficiente. Así que intentamos ponerlo en experiencia estética.
RANDOM ACCESS MEMORIES
RANDOM ACCESS MEMORIES April 30 – August 20, 2022 Chapter 1: Julio Aquino, José Eduardo Barajas, Luis Campos, Isabel Cavenecia Chapter 2: + Marianela Castro, Gerardo Contreras
When a glass of water is spilled over a computer keyboard, minerals and impurities in the water conduct electricity through unexpected paths, causing a short circuit. In the same way, artworks presented in Random Access Memories (or RAM) produce a clash of the digital and physical.
As children of mass media, the artists in Random Access Memories have a fugitive nature — part of a generation who rely on their inconsistent, evasive and dynamic attributes for survival. Visually and conceptually, the artworks slip through the (already dead) original files; to sample and mix the overload of information producing their own fictions.
Memory is flexible. Memories are multiplied, expanded and diluted by our imagination. In contrast to a computer’s hard drive, the RAM is volatile— it retains data as long as the computer is on. For this exhibition(s) Relaciones Públicas mimics the functions of a computer, filling up the RAM until it is no longer capable of processing the data. Relaciones Públicas presents an evolving exhibition, in which artists and artworks will be added to each Volume until the accumulated Random Access Memories overwhelm the gallery and must be rebooted.
In a way, the artworks added to RAM are the exhibition’s software update, but the cup is already spilled and leaks are finding new paths. In that sense, these series of exhibitions reverberate the disk function (and dysfunction): temporarily store the program of the user’s desire.
– Mercedes Gómez Gonzalez @beggingformerci
(1) “Children of Mass Media even more than being the children of their parents who have much less influence over them”. Avant-Pop Manifesto, Mark Amerika (1992-1993)
For this exhibition(s) Relaciones Públicas mimics the functions of a computer, filling up the RAM until it is no longer capable of processing the data. Relaciones Públicas presents an evolving exhibition, in which artists and artworks will be added to each Volume until the accumulated Random Access Memories overwhelm the gallery and must be rebooted.
Bodrios full series
INTRODUCING: Julio Aquino Bodrios series
Julio Aquino (Unión Hidalgo, Oaxaca, 1999) is a multidisciplinary artist with a background in composition and theoretical music currently experimenting with new ways of using digital tools and processes for visual and sonorous creation. The Bodrios series (Artificial Intelligence-generated images printed on Hahnemühle photo paper) is born from an exploration with GANs (Generative Adversarial Networks: neuronal networks that generate image) about pareidolia and how gradually in their learning process they begin to generate vague and random stimuli that are mistakenly perceived as recognizable forms. A recent immersive installation by the artist, titled WITHDRAWAL, contains Backroom, a sound piece that sequentially intersperses two different audios at varying time intervals by means of double amplitude modulation (AM), creating a texture completely different from the original textures of both mother audios. The work refers to liminal spaces as it explores the moments where AM goes from being a perceptible rhythm to generating heights when performed at audible frequencies. The installation imitates a Backroom, which, according to users of sites like 4chan, are disturbing images of spaces in which something is not quite right. Julio’s work proposes a reconciliation with the intermediate spaces, loneliness, waiting and uncertainty.
Bodrios, 2022 Edition of 30 unique digital prints on Hahnemüle photo paper 20 x 20 cm $8000 MXN each On demand Select and request at: contact@ravaprojects.com
A.I playlist 1
RANDOM ACCESS MEMORIES A.I PLAYLIST 1 INSTALLATION JULIO AQUINO
New space! Inaugural exhibition: Nocturnal. Carolina Fusilier, Maggie Petroni, Emma Pidré & Milagros Rojas.
On the occasion of Zona MACO 2022, Relaciones Públicas opens a new project space in Tacubaya, Mexico City with “Noctámbula,” a dark encounter of four artists: Carolina Fusilier, Maggie Petroni, Emma Pidré & Milagros Rojas.
A concrete industrial passage suspends a series of penumbral objects. In a striking inaugural gesture, this space and exhibition present an antithesis to the blindingly white modality of the typical gallery. “Noctámbula” unfolds as an inquiry into discord around the body, society, and shared conceptual otherness. The works extrapolate universes and phantasmagoric bodies, dialoging material disquiet and convening in a simple gesture of nocturnal togetherness.
The artists are all from Argentina, but it would be too easy to attribute their affinities and peculiarities to shared nationhood or local subcultures. Their work engages in a conversation on malaise as dérivé, much like a sleepwalker wandering into the most existential corners of the mind, contemplating bodies, skeletal and sewer systems; post-human, post-internet collage and gravity defiance; fusions and the invitation to fuse, mount, strap in, or slurp up.
Petroni’s work Nikol, a candelabra of headlights and various goops on a superhuman scale, confronts the viewer as a kinetically static transmutation. Invoking the street at night, it could be interpreted as a car crash, as though, much like in Cronenberg’s The Fly, metallic parts have solidified into mutilated sarx—a fatal fusion between living flesh and dead matter. These sensations are also present in Petroni’s paintings, in which imagery of skeletal faces and actual clothing drip from out the seams.
Pidré’s pointy pelvises and vertebrae present a different sort of existential horror, a darkness confronted by mechanical perfection. The installation Come, Sweet Death layers steel plates carved with laser precision into spindled points. Screws bind the plates together, much like those which hold a replacement hip in its soft cavity. But the installation ultimately resembles a chain link, a spine devoid of surrounding flesh—both weapon and sustaining internal armature.
Milagros Rojas’s Fantasmagorías works form a quiet counterpoint to the main space’s uncontainable gestures. Sketched in tailors’ chalk and then embroidered, the fabric pieces recall delicate bones: a ribcage, a thorax, the skeleton of a bird. This initial ghostly gesture is then stabbed into permanence by an industrial needle, a fleeting sketch turned elemental glyph.
With her deceptively sterilized collage-paintings, Carolina Fusilier creates floating ethereal systems of pipes, sockets, and linear reflections of light that mesmerize and disturb. The ensuing visual panorama makes room for the incorporeal and corporeal alike. Hers is an aqueous, surrealist darkness, but as much as it is about dreams and the unconscious, it’s also highly cerebral. In the series Nuevo tipo de sol, Fusilier has made work in which the viewer can’t quite ever understand where the light source is; there’s a loss of orientation, something even labyrinthine. A system comes to life, a futuristic infrastructure revealing the mythological horrors of old.
Night, as a space or place, can be equally reduced or romanticized, as could be the Global South. But night vision, as a laser that penetrates the opaque and ordinary patinas painted on by the day, creates the possibility of a psychic quest: inroads into the collective unconscious. “Noctámbula” invites a wander around lesser-known neuropaths, while still reminding us that the brain but floats in a challis and chassis. Dystopian corporeality pulses through the works, but as in a fever dream or a somnambulance atop wet pavement, the universes revealed therein somehow levitate flesh to float above it all.
– Kristin Reger
Milagros Rojas, Sin título (de la serie Fantasmagorías), 2021.Carolina Fusilier, Nuevo tipo de sol, 2021. Collage and oil on canvas.Magdalena Petroni, Nikol, 2022. Dimensiones variables.
