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Relaciones Públicas was founded in 2018 as a site-specific exhibition program and an agency for its fellow artists. It was born as a response to the curatorial necessities of the scene it belongs to and as an important catalyst in the creation of ambitious, experimental exhibitions, especially in the first years of the artists’ careers. 
    RP is an entity that has built upon the agency of self-organization as a method for the accomplishment of independent, collaborative projects.
    The project depends on the support of sponsors for each one of its projects and continues to build a network of committed supporters. RP is an active participant in the changing needs of its generation, and it is known for its key curation of exhibitions.

Exhibitions
15
14
13
12
11

10
09
08
07
06
05
04
03
02
01
Fruit of the Doom
Arteba
Nations
Gathering
Regiones que no aparecen en los mapas
(espacios catalíticos descomposición)
Pies de Plomo
Luxury is Personal
Pertinent Blackout
Lo más terrible se aprende rápido
Random Access Memories
Material Art Fair 2022
Shy Cramps, Soft Guts
IUDUIUDUI
Garden of Delete
¿Por dónde sale el Sol?
03
UIDUIUDUI
Kristin Reger

Edificio Ermita
Ciudad de México
Apr. 27 - May. 29
2021
ENG
RP is pleased to present the new large-scale sculptures by North American artist Kristin Reger in Mexico City, at the former cinema of the Ermita Building from April 27 to May 29, 2021.

Reger is in a symbiotic transit between performance and sculpture, where the focus of study centers on a material sensibility that terrifies and excites, transmuting these emotions into amorphous figures that end up being mirages or simple enlargements of a reality of their own.

The conception of reality is fictitious, space/time is neutralized, the formal constructions of matter disappear, resulting in an unknown postembryonic state: amorphous, monstrous, ghostly, spectral. Constructing bodily and timeless ambiguities, resulting in exogenous forms out of register which finally become preconceived molds that allow us to understand the metamorphic birth of being.

It is necessary to break oneself into pieces and to feel in the body the madness of a contortionist; at the same time one must become a fetishist to the point of slavery, a fetishist of the eye, of the buttocks and of the feet, all at once, in order to find again in oneself what was miserably aborted at the beginning of the constitution of the human body. [Georges Bataille, Visions of Excess. Selected Writings, 1927-1939, p.260.]

In this case the Platonic conception of the beautiful disappears to give way to the despicable and unknown, but always within essential Pythagorean parameters for the unpleasant understanding demanded by the spectator.

Within the same logic and occupying the same techniques, with which the concept of beauty is gestated, in IUDUIUDUI there is something emotional, irrational, that despite having the same compositional logic as harmony, with a simple and poor capricious equation, the factors are altered giving as a product (at least in this case) pieces of two meters suspended in the air, meaningless, waiting to be contemplated.