Yautepec, Mexico City
For its debut appearance at ART-O-RAMA, Mexico City’s Yautepec Gallery will present a group of works that share geometric formal concerns yet represent disparate paths of arrival to and departure from this unifying visual characteristic.
Love Will Tear Us Apart (2013) by Txema Novelo (Mexico, 1982) is the newest of his Crossroads works, which function algorithmically much like the Christian symbol of the Scrutum Fidei — or Shield of the Trinity — in which the meaning of the work (the fourth element) is revealed only through the union of its three visible, triangulated elements.
Natalia Ibáñez Lario’s (Spain, 1980) video, Exposé (2012), utilizes the default “Exposé” function of the Macintosh OSX to convert a group of 30 quicktime movie windows into a makeshift kinetic art work, part of her larger artistic investigation of accidental aesthetics.
Similarly breathing new life into old forms, Aníbal Catalán (Mexico, 1973) will participate with a group of eight works on Polaroid called Suprematistas Instantaneas (Instant Suprematists, 2011), in which he creates formal compositions that recall the works of El Lissitzky and Kazimir Malevich via paint and ink interventions on instant photographs taken of his own sculptural works.
Ryan Perez (United States, 1982) will present works from the B.O.G.O. Vision Mini (2013) series, new diminutive versions of his geometrically abstracted photographs of studio constructions, framed within a visual and conceptual language that intentionally blurs the boundaries between fine art and industrial design, sense and sensuality.
Exploring related interdisciplinary ideas will be photographic works from the series La Cruz del Sur by Ramiro Chaves (Argentina, 1979), which represent his thorough investigation of and artistic dialogue with the architectural works of the German artist Mathias Goeritz in and around Mexico City. Through the use of long exposures, Chaves firmly plants the dimension of time into his works, building upon Goeritz’s own concept of emotional architecture, creating works that are at once abstract, evocative, and documentary.
And finally, two video works by Calixto Ramirez (Mexico, 1980) will be projected in constant rotation: Anti-Monumento (2008) and Washington and Platon Sanchez (2011), which playfully define their central forms via processes of undoing and doing.
