LATIN AMERICAN ROAMING ART MUSEO DE ARTE CARRILLO GIL

2014
LATIN AMERICAN ROAMING ART
FLORENCIA GUILLÉN / CLAUDIA JOSKOWICZ / JORGE MÉNDEZ BLAKE
MORIS (ISRAEL MORENO) / NICOLÁS PARIS / ANTONIO PAUCAR
RITA PONCE DE LEÓN / HUMBERTO VÉLEZ / ERIKA VERZUTTI
MUSEO DE ARTE CARRILLO GIL
2014
LARA
(Latin American Roaming Art) acts as a platform to promote critical
thought and interaction with local communities based on the concept of
creation through experience. The project is considered “roaming”; each
edition of LARA takes place in a different country, without losing its central
strategy or purpose. The first edition of the project was held in Colombia
(2012), the second in Peru (2013), and the third in Mexico (2014). Every year,
eight artists are invited to participate in a two-week residency taking place in
a specific location in a Latin American country. Based on these experiences,
they produce one or several pieces that are presented as part of a group show
to be held six months later. Two artists from each edition are awarded an
additional residency at the Metropolitan Museum of Manila, as well as in
FLORA ars+natura in Bogotá.
On this occasion, the Museo de Arte Carrillo Gil is proud to present the results
of the residency that took place in November 2014 at the Centro de las Artes
de San Agustín in Oaxaca. The participating artists of LARA 2014 are Florencia
Guillén (Mexico), Claudia Joskowicz (Bolivia), Jorge Méndez Blake (Mexico),
Moris (Mexico), Nicolás Paris (Colombia), Rita Ponce de León (Peru), Humberto
Vélez (Panama) and Erika Verzutti (Brazil). The exhibition also includes a work
by Peruvian artist Antonio Paucar, who participated in the LARA 2013 edition
and at the beginning of this year completed his residency in the Philippines.
Both in Oaxaca and Manila, the artists met with creators from diverse
disciplines and t rajectories, historians, essayists, archeologists, anthropologists
and cultural administrators, among others, with the intention to establish an
informed dialogue with each location. In the case of Oaxaca, we sought an
approach that would include references to the region’s vast cultural heritage;
from the pre-Hispanic cultural legacy of the Zapotec and Mixtec people, to
the impact of colonial syncretism. Artists also explored the complex current
sociocultural environment marked by a historic struggle between the preservation
and d
isappearance of customs and traditions sustained by various ethnic and
linguistic groups in the region. Finally, we investigated the key role that the
region of Oaxaca has played in various political and social movements since
the 19th century, emphasizing the part that art and culture have played within
these movements over the past few decades.
The aim of this immersion was not to generate immediate or obligatory
responses to the context in which the residency was held, but rather to
provide a broad set of references that would allow each guest artist to find
departure points from which to continue developing existing lines of work in
his or her practice. The result is a set of works and projects that demonstrate the
importance of the residency as a place to encounter and connect with a context,
yet somehow infiltrated into each of these works without necessarily taking a
major or determining role. The continuity of the LARA project ensures the
constant renovation of critical approaches to a variety of contexts provided by
the physical, political and cultural geography of this shared region.
Tatiana Cuevas
Curator, LARA 2014
FLORENCIA
GUILLÉN
(Mexico City, 1977. Lives in Guadalajara)
Guillén’s work involves the observation of everyday events that condense
the historical and social past of specific communities. Parting from a broad
research on patterns of female participation in social, political and cultural
resistance movements at different historic moments in Western history,
as well as that of Mexico and other Latin American countries, Guillén
concentrates on the graphic representations of these struggles. She
identifies six essential elements –education, health, food, community,
family, and voice– that appear mainly in the textile iconography of states
such as Oaxaca, Chiapas, Colima, Hidalgo, and Jalisco. Her analysis of these
images leads to the creation of a fictitious graphic icon that combines them
and is recreated on a tapestry. The process leading to the conceptualization of
this new icon is narrated in a video that records a pair of hands weaving, knot
by knot, the backdrop for this new symbol.
Guillén studied painting at the Istituto Spinelli per l’Arte e il Restauro in Florence,
followed by Art History and Visual Arts at Goldsmiths College, London. She holds a
Master’s from The Salde School of Fine Art in the British capital, thanks to a grant
from the Arts and Humanities Research Council. Guillén has held individual shows
at ESCALA, Essex University, Colchester, United Kingdom; Valenzuela and Klenner,
Bogota; and Arsenal, AneksGallery, Poznan, Poland. She has participated in group
shows such as La voluntad de la piedra, Programa BBVA-Bancomer-MACG, Museo
de Arte Carrillo Gil, Mexico City (2014); Estudio Abierto - Uno obtiene el camino,
Zapopan Art Museum (2013); La Puerta Hacia lo Invisible Debe Ser Visible, Casa
del Lago, Mexico City (2012); Poetry off the Shelf, The Poetry Foundation, Chicago
(2012); and The Works of Others, Old Whitechapel Library, Whitechapel Gallery,
London (2006); among others. She has been an artist in residence at Red Mansion
Foundation, Beijing; Gasworks International Fellowship, Lugar a Dudas, Cali; and
ESCALA, Essex University, Colchester, United Kingdom.
Florencia Guillén
Untitled (Resistance), 2015
Wool tapestry and digital HD video with sound
112 cm x 200 cm
5 min 22 sec loop
Director: Florencia Guillén
Photography: Bernardo Deniz
Sound: Andrés Aguilar
Sound editor: Andrés Aguilar and Florencia Guillén
Tapestry production: Taller Mexicano de Gobelino
Weaver: Pedro Ibarra Hernández
Research: Florencia Guillén and Isa Carrillo
CLAUDIA
JOSKOWICZ
(Santa Cruz, Bolivia, 1968. Lives in Santa Cruz and New York)
Through slow motion video sequences, Joskowicz reproduces “mythicalhistorical” events present in the global collective memory; personal stories
that possess a historic dimension, or rather, that allude to iconic works of
art from the second half of the 20th Century, while anchoring them in Latin
American surroundings. Some Dead Don’t Make a Sound uses the legend of
La Llorona, or the Weeping Woman, as a metaphor for a nation in mourning.
In its various versions, this legend preserves elements of its indigenous
essence to represent time, the pathway to the underworld, death as an
everyday occurrence, the supernatural, and despair. She is aware of her
descendants’ destiny, yet is powerless to avoid it. She is therefore emblematic
of the despair of an entire people –and inevitably, an allusion to a series of
violent events in the Mexican landscape of the past decade, particularly that
of September 26, 2014, when 43 students from the Raúl Isidro Burgos Rural
Teacher’s College of Ayotzinapa, Guerrero suffered forced disappearance;
as well as the violent protests in June 2006 after dismantling the teachers’
settlement at Oaxaca’s main square. Through different takes that register
the daily surroundings of the city of Oaxaca in a slow, powerful progression
from the main square to the Macedonio Alcalá Theater, this video captures
the subtleties of pain and struggle that take place at times when the mundane
is confused with the mystic.
Joskowicz received a Master’s in Fine Arts at New York University (2000). She has
presented solo shows at LMAK Projects, Forever & Today, Inc., Thierry Goldberg
Projects and Momenta Art in New York, Dot Fiftyone in Miami at the California
Museum of Photography in Riverside, California (all from 2013). Recent group shows
include: Fleeting Imaginaries, The Cisneros Fontanals Art Foundation Grants &
Commissions Program Exhibition, Miami (2014); Under the Same Sun. Art from Latin
America Today, Guggenheim Museum, New York (2014); America Latina 1960-2013,
Fondation Cartier pour l’Art Contemporain (2013-2014). She has participated in the 10th
Biennale of Sharjah, the 29th Biennale of São Paulo, the 10th Biennale of Havana and
the 17th and 18th Videobrazil Festivals in São Paulo, among others. Joskowicz teaches
at the Steinhardt Arts Department of New York University.
Claudia Joskowicz
Some Dead Don’t Make a Sound, 2015
Single channel high definition video (HD 2K)
11 min
Director: Claudia Joskowicz
Director of Photography: Antonio Turok
Camera: Benjamín Cabral
Assistant Director: Alejandro Reynaud
Production Assistant: Bruno Varela
Gaffer: Ángel Jara Taboada
Grip and Dolly: Gustavo Mora
Editor: Claudia Joskowicz
Actors: Rosario Ordóñez Fuentes and Cristian Rasgado
JORGE
MÉNDEZ BLAKE
(Guadalajara, Jalisco, 1974. Lives in Guadalajara)
Combining historic and geographic elements, Méndez Blake explores
various possible connections between literature and art in order to provoke
new thoughts on the cultural role of language. In a fortunate chain of
coincidences that began with encountering the article “Aproximaciones a
Robert Frost”, published in the anthology Alacena de minucias (1962-1969)
by Andrés Henestrosa, Méndez Blake revisits the pathway to a theme he
started to research years before. Written in 1963, the article narrates the visit
Octavio Paz paid to the American poet in his Vermont cabin in 1945. Méndez
Blake focuses on coincidentally having read this interview not long before,
out of interest in the American poet and his famous poem Mending Wall –
which he had arrived at as part of an investigation regarding the architectural
motif and its presence in literature. Parting from the popular refrain “Good
fences make good neighbors” that appears in the poem, and his interest in
the genre of poetry and the wall as an architectural, social and psychological
element, Méndez Blake revisits Frost’s poem and converts it into a sculptural
form. On the other hand, he develops an investigation regarding the
architectural possibilities of a dividing wall through a series of drawings
that explores variations on closed spaces.
Méndez Blake has held individual exhibitions at the Museo Universitario Arte
Contemporáneo, Mexico City (2015); Museum of Contemporary Art, Denver (2014);
Museo D’Arte Contemporanea Villa Croce, Genoa (2012); Museum of Latin American
Art, Long Beach (2010); Museo Tamayo Arte Contemporáneo, Mexico City (2010).
He has participated in group exhibitions at the Museum of Contemporary Art, Santa
Barbara (2014); Fundación/Colección Jumex, Ecatepec (2014); Frankendael Foundation,
Amsterdam (2013); Museo del Palacio de Bellas Artes, Mexico City (2013); Aspen
Museum of Art (2012); Musée d’Art Moderne de la Ville de Paris (2012); Fundación
Marcelino Botín, Santander (2012); Museo Amparo, Puebla (2011); among others.
He has also taken part in the 13th Istanbul Biennial (2013); 43 Salón (Inter) Nacional de
Artistas, Museo de Antioquía, Medellín (2013) and received the Cisneros Fontanals
Art Foundation Grant, Miami (2012) as well as the Beca de Artes of the Fundación
Marcelino Botín (2010).
Jorge Méndez Blake
Dividing Walls Projects, 2015
Colored pencil on paper
Polyptych of 30 drawings
27.5 x 37.5 cm each
Final dimensions variable
Mending Wall (Robert Frost), 2015
Wood, Plexiglas, mirror, metal
300 x 120 x 100 cm
MORIS
(ISRAEL MORENO)
(Mexico City, 1978. Lives in Mexico City)
Through found or exchanged objects from marginalized zones of different
cities, Moris builds a series of studies of the social dynamics determined
by illegality and violence, relocating the precarious nature of locations and
situations at different points of the urban narrative into the privileged space
of the art exhibition. These three works are the result of trips to various
areas of the city of Oaxaca where he compiled, in different ways and at
different times, a series of physical materials and visual references recording
the city’s day-to-day transformation, as well as the messages that proliferate
therein. Thus, the censorship of selected graffiti that reveals the lack of
understanding of the real power of communication through tagging, the
fortunate perseverance of certain protest banners or the physical and
emotional characteristics of the constant commute to and from the nation’s
capital, indicate the collapse of the ancestral cosmic division between the
celestial world, the world, and the underworld; constituted as barricades that
tirelessly and simultaneously turn up cultures in resistance.
His individual shows include: Presa y Depredador: Registro de ilegalidad y violencia;
Un monstruo camina entre ustedes, Sala de Arte Público Siqueiros, Mexico City
(2014); Ningún animal tiene el derecho de preocuparse por lo que pueda ocurrir
mañana!, Museo Carrillo Gil, Mexico City (2013); Mi casa es tu casa, Museum of
Contemporary Art, Los Angeles (2010); Un animal muere porque otro tiene hambre,
Museo Experimental El Eco, Mexico City (2008). He has participated in various
group exhibitions, including: Efecto Drácula. Comunidades en transformación,
Museo Universitario del Chopo, Mexico City (2013); 30 Bienal de São Paulo.
La inminencia de las poéticas (2012); La hora y los sitios, Museo de Arte
Contemporáneo, Oaxaca, Mexico (2012); Tiempo de sospecha, Museo de Arte
Moderno, Mexico City (2011); Mexico Expected/Unexpected, Museum of
Contemporary Art, San Diego (2011); Educando el saber, MUSAC, Leon (2010).
Moris
The bark is not worse than the bite, 2015
Digital print on paper, mounted on rigid base
17 photographic series
Variable dimensions
Abandoned barricade, 2015
Wood, enamel, ceramic, television and 8 mm video
190 x 70 x 600 cm
Inverted nomadic stela, 2015
Wood, plastic, metal, cardboard, enamel and fabric
480 x 60 x 60 cm
NICOLÁS
PARIS
(Bogotá, Colombia, 1977. Lives in Bogotá)
Nicolás Paris creates a space for group exchanges through drawing and
other dynamics that touch upon the basic foundations of art. His work
operates as a platform through which the processes of visual artistic production
are combined with their educational potential. For this installation, he has
produced a series of devices on potential systems of learning, communication,
and knowledge. Based on a reflection on the narrative structures of preColombian codices and modernist educational proposals, such as the book
The Fable Game, by Enzo Mari, Paris revisits a classroom project begun in
the year 2000. He worked as a teacher at a rural school in Colombia, where
he developed a prototype for an educational tool to help the reading and
writing learning process. This model was discussed in workshops with
elementary school teachers in Oaxaca and Mexico City in order to analyze
and contribute to the development of this methodology. Again, in reference
to the graphic communication structures of codices, Paris has also developed
prototypes of objects and bodily extensions whose function is to carve,
construct, write, and draw. Finally, from an interest in the careful observation
of ordinary processes and elements such as light, sound, and traces, he
reveals their potential as factors that determine fundamental changes in
the experience of a space.
His individual shows include: Micro-eventos o la posibilidad de equivocarnos, Fórum
Eugenio de Almeida, Évora (2015); El diálogo, el rumor, la luz y las horas o (un lugar
para contemplar la transformación), Galería Elba Benítez, Madrid (2015); Room for
Us, Kadist Art Foundation, Paris (2013); Ejercicios de resistencia, Museo Universitario
Arte Contemporáneo, Mexico City (2012); Classroom, Museo de Arte Moderno of
Medellin (2009), among others. He has participated in group exhibitions such as:
Uma conversa infinita, Museu Coleção Berardo, Lisbon (2014); The Peacock, Grazer
Kunstverein, Graz (2014); When Attitudes Became Form Become Attitudes, CCA
Wattis Institute, San Francisco (2012); The Ungovernables. New Museum Triennial,
New Museum, New York (2012); The Air We Breathe, SFMOMA, San Francisco
(2011); Parapatetic School, Drawing Room, London (2011); Modelos para armar,
MUSAC, Leon (2010). His work has formed part of the 12th Bienal de La Habana
(2015); 9th Biennale of Shanghai (2012), the 30th Biennale of São Paulo (2012), the
11th Biennale of Lyon (2011), the 54th Biennale of Venice (2011) and the 7th Biennale
of Mercosur (2009).
Nicolás Paris
Tools for erratic dialogues or sympathetic associations
(table to learn how to read and write), 2015
Drawings, objects, tools, wood, videos, exercises, workshops
Variable dimensions
ANTONIO
PAUCAR
(Huancayo, Peru, 1973. Lives in Berlín and Huancayo)
In spite of the considerable geographic distance separating Mexico from Manila,
the Hispanic colonial heritage shared by both countries has perpetuated the
control of a conservative hierarchy. At the same time, the strong influence
of US culture has introduced consumer habits and ambitions related to social
mobility that have had a counterproductive effect, emphasizing rather than
minimizing social differences. The conditions of extreme poverty observed by
Antonio Paucar in Manila–according to World Bank statistics, in 2012, 18% of
the Philippine population live on less than $1.25 US dollars per day, versus 1%
in Mexico–gave rise to this performance in which the artist’s movements as
he drags himself on the ground are recorded by a trail marked by ropes and
magnets, allowing the continuous drawing of a red line that alludes to our
helplessness when confronted by the marginalization and absolute denigration
of a sector in our society. The title of the work resonates in Mexico due to its
obvious association with the namesake literary work written by Mariano Azuela
in 1915, in which he narrates the political awakening of the oppressed during
the Mexican Revolution. In the case of Paucar, the position of his body, his
physical movements, and the repetition of the line, make an uprising of this kind
appear to be impossible.
Paucar studied philosophy at the Humboldt University of Berlin, later completing a
degree in visual arts at the Kunsthochschule Berlin-Weissensee, as well as a Master’s
in Visual Arts and post-graduate work in the same field with Professor Rebecca Horn
at the Universität der Künste in Berlin. His most recent work has been exhibited at
White Cube Gallery, Metropolitan Museum, Manila (2015); Galerie Barbara Thumm,
Berlin (2014); Staatsgalerie Moderne Kunst und Zentrum für Gegenwartskunst im
Glaspalast, Augsburg (2011). He has participated in exhibitions such as: Wall Works,
Hamburger Bahnhof, Museum fuer Gegenwartskunst, Berlin (2013-2014);
Movement Matters, Kunstverein Göttingen, Alemania (2014); LARA 2013, Museo
de Arte Contemporáneo, Lima (2014); Ruta mística, Museo Amparo, Puebla (2014);
Maribor Project/Rebecca Horn & Guests, UGM Maribor Art Gallery (2012); ¿Y qué si
la democracia ocurre?, Galeria 80m2 arte&debates, Lima (2012); Facts of Poetry,
Projektraum 1 im Kunstquartier Bethanien, Berlin (2011). From 2008-2009 he received
the DAAD grant in Germany and in 2014 he was awarded with a residency at Villa
Aurora in Los Angeles. He participated in the LARA 2013 residency in Ollantaytambo,
Peru and was selected to complete a residency at the Metropolitan Museum of
Manila, Philippines in January 2015.
Antonio Paucar
Line (The Underdogs), 2015
Performance
Red paint on wooden plank, ropes, magnets, pulleys, sound video
RITA
PONCE DE LEÓN
(Lima, Peru, 1982. Lives in Mexico City)
Rita Ponce de León draws with the aim to establish a zone of communication
among different people who contribute heartfelt reflections regarding their
social settings. For this project, she worked in collaboration with the
Demostravivo Space located in San Sebastián Tutla, a community near the
city of Oaxaca. The Space acts as a meeting place for people who gather every
week in order to collectively build their independence on different levels. It is
one of various projects in the region linked to Unitierra, a network, space, and
organization dedicated to learning, study, reflection, and action. In the video,
some of the people whom the artist met during her visits to Oaxaca send us
messages (that take the shape of actions) regarding how they experience the
world in which they would like to live.
She studied Fine Arts at La Esmeralda National School of Painting, Sculpture and
Printmaking of Mexico City and at the Pontificia Universidad Católica of Peru. Her
individual shows include: Endless Openness Produces Circles, Kunsthalle Basel,
Switzerland (2014); David, Sala de Arte Público Siqueiros, Mexico City (2012); Piso
porque creo en el suelo, Museo de Arte Moderno, Mexico City (2012); He decidido
bifurcarme, Centro Cultural Border, Mexico City (2011). She has participated in
group shows such as the 12th Biennale of Cuenca, Ecuador (2014); Sights and
Sounds, The Jewish Museum, New York (2014); Left Eye, Right Eye, V8, Karlsruhe,
Germany (2013); Materia Sensible, Gabinete Gráfico del Museo de Arte Carrillo
Gil, Mexico City (2013); Byob, Sala Luis Miró Quesada Garland, Miraflores District,
Lima, Peru (2013); The Ungovernables, New Museum Triennial, New Museum,
New York (2012).
Rita Ponce de León
Hutzin, Elvia, Lisbeth, Clemente, Porfirio, Irene, Gustavo, Erika, Yaxché, Ester,
Martin, Patricia, Irene, Óscar, Laura, Toni, Maia, Rita, 2015
Video and series of 15 color and ink drawings on paper
5 min 32 sec loop
20.5 x 20 cm each
Camera and video editing: Laura Aldrete
Camera assistant: José Antonio García
In collaboration with Unitierra and the Espacio Demostravivo of San Sebastián Tutla
HUMBERTO
VÉLEZ
(Panama City, 1965. Lives in Manchester, United Kingdom and Panama City)
In these works, Humberto Vélez uses certain dynamics and factors that allow
the construction of urban myths and rituals to present two different situations
loaded with a complex background of cultural references oscillating between
reality and fiction. The chance encounter with a series of films kept in a local
archive found by the artist during his residency in Oaxaca, led to the recovery
of the story of an extraordinary boxer, whose life combined interregional
migration with the aspiration to lead an allegedly better life by crossing over “to
the other side”, as well as the loss of reason that can cause a legend to fade into
oblivion. Furthermore, in keeping with his usual practice of collaboration with
various groups of people –artists, artisans, poets, athletes, musicians, refugees,
indigenous communities– in different cultural contexts, Vélez approaches the
practice of the Mixteca ball game. He designs, together with Leobardo Pacheco
(an active player who inherited the tradition of manufacturing game gloves
started by his grandfather in 1911) a reinvention of this sports ceremony, in
which the naive persistence of symbolism connects with the evolution of
physical skill and popular expression.
Vélez studied law and political science at the Universidad de Panamá, later enrolling in
the San Antonio de los Baños International School of Cinema in Havana. His individual
shows and performances include: The Awakening/Giigozhkozomin, Art Gallery of
Ontario, Toronto (2011); Aesthetics of Collaboration, Art Gallery of York University,
Toronto (2011); Le Plongeon, Centre Pompidou - Piscine Josephine Baker, Paris
(2010); Bodydream, Centro de Arte La Regenta, Las Palmas, Canary Islands (2008);
The Fight, TATE Modern, London (2007). He has participated in the 56th and 54th
Biennale of Venice (2015 and 2011); 10th Biennale of Cuenca, Ecuador (2009),
The Biennale of the Central American Isthmus in Tegucigalpa, Honduras (2008), the
8th Biennale of Panama (2008), the Biennale of Liverpool (2006), The Biennale of
Shanghai (2004), the 8th Biennale of Havana (2003) and the Ibero-American Biennale of
Lima (2002). He has completed artistic residencies at Yorkshire ArtSpace, Sheffield;
The Ministry of Foreign Relations, Vienna; the York Art Gallery University, Toronto;
at Triangle Arts Trust – Gasworks, London, and Cité des Arts, Paris. Since 2012,
he has collaborated with Adrienne Samos on the pedagogical project Visiting
Minds Panamá.
Humberto Vélez
Magic Mario, 2015
Found footage, Super 8, black & white and color. Transferred to video
5 min
Music: Nikola Kodjabashia
Text: Giovanna Miralles
Edition: Will Aldersley
Special thanks to: Alison Kershaw
The Duel, 2015
Performance inspired by the Mixteca ball game
Photographic and video documentation, ball and
gloves
Camera: Jasso Producciones
Ball and gloves: Leobardo Pacheco Vásquez
Text: Carlos Fitzgerald Bernal
In collaboration with Leobardo Pacheco Vásquez,
Cornelio Pérez, Héctor Alfonso López Santiago,
and Francisco Javier Matías Cruz
ERIKA
VERZUTTI
(São Paulo, Brazil, 1971. Lives in São Paulo)
Verzutti’s work is known for using various organic elements in the manner
of found objects to transfer them to another reality, one that combines the
allegedly exotic with the erotic and fantastical. In these works, the artist not
only skews the focus of her work toward fantasy, she also incorporates new
media into her usual practice of painting and sculpture. Intrigued by a fixation
on different spaces within the Centro de las Artes de San Agustín, viewed as
potential backdrops for a possible film –one that would be strongly influenced
by the combined perspectives of Giorgio De Chirico and a random compilation
of images by Sergei Eisenstein– she collaborated with a theatrical troupe in
order to activate these spaces through improvised movements. Later on, in
harmony with the willingness of the actors to represent the absurd, Verzutti
digitally integrates references to her own work in these photographs in the
shape of floating metallic objects that look as if coming from another world.
This association with extraterrestrial realms is also present in her works created
in felt. A photograph of Stele 18 from Monte Albán, passively standing in the
midst of a cosmic vortex, is transformed into a felt tapestry, counterbalanced
by a similar composition produced from an image of another work in the
artist’s repertoire, allowing the development of intriguingly mysterious proposals
within her practice.
Verzutti studied Fine Arts at Goldsmiths College, London (1999-2000). Her individual
shows include Sculpture Center, New York (2015); Tang Museum, Skidmore College,
Saratoga Springs, New York (2014); Galerie Peter Kilchmann, Zurich, Switzerland (2014);
Misako & Rosen, Tokyo, Japan (2013); Centro Cultural São Paulo, Brazil (2012); Galeria
Fortes Vilaça, São Paulo, Brazil (2011). She has participated in group shows such as
Under the Same Sun. Art from Latin America Today, Guggenheim Museum, New York
(2014); 56th Carnegie International, Carnegie Museum of Art, Pittsburgh (2013); Vision
of Paradise: The Savage Mind, Art Rio, Río de Janeiro, Brazil (2013); A terrible Beauty is
born, 11th Biennale of Lyon, France (2011).
Erika Verzutti
Stela, 2015
Felt
90 x 60 cm
Original photography: Stela 18, Monte Albán.
Dr. Jesús Galindo Archive
Work developed in collaboration with the Felt
Workshop of the Centro de las Artes de San
Agustín, Oaxaca
Egg Tower, 2015
Felt
90 x 60 cm
Work developed in collaboration with the Felt
Workshop of the Centro de las Artes de San
Agustín, Oaxaca
Venus, Interestelar, Egg Tower, Unit, Earth, Swan,
De Chirico, 2015
Seven piezographies
20 x 24 cm each
Digital editing: Alex Canonico
Photographic shooting developed in collaboration with
Saúl López Velarde, Sonia Díaz Gregorio and Manuel
Valdez Valdez
ACTIVITIES PROGRAM
MAY
Performance by Humberto Vélez
Workshop by Nicolás Paris
“Desarrollo de una herramienta pedagógica”
JUNE
Conversation about the Mixteca ball game
JULY
Gallery Talk with Tatiana Cuevas, curator LARA 2014
AUGUST
Workshop by Moris
“Construyendo sobre escombros”
SEPTEMBER
Workshop by Rita Ponce de León
“Con la tierra en los pies y con los pies en la tierra”
Presentation of the LARA 2014 publication
For more information, please view the complete program
via our webpage www.museodeartecarrillogil.com
or write to [email protected]
Programming subject to change without notice
LARA 2014 | LATIN AMERICAN ROAMING ART
30 May - 4 October, 2015
Asiaciti Trust
Acknowledgements
Asiaciti Trust is the leading independent
group for fiduciary services and
international investment in the Asian
Pacific, providing specialized services
of financial consulting, asset protection
and international tax planning. Asiaciti
Trust has its headquarters in Singapore
and also operates in the Cook Islands,
Dubai, Hong Kong, London, New
Zealand, Nevis, Samoa and Panama.
As part of its Private Services Program
for Families, Asiaciti Trust offers consulting
on structures, training and administration
of philanthropic projects on an international
scale. Through its Charitable Foundation,
Asiaciti Trust finances the LARA Latin
American Art Project.
Lourdes Báez, César Espinosa, María
Luisa Antonio, Hazam Jara, Jesús
Martínez Cruz and the whole team at
the Centro de las Artes de San Agustín,
Mónica Villegas of La Curtiduría, Alonso
Aguilar Orihuela and Inari Reséndiz of
the Instituto de Artes Gráficas de Oaxaca,
Esteban San Juan Maldonado of the
Coordinación de Teatros at the Secretaría
de las Culturas y Artes de Oaxaca,
Teatro Macedonio Alcalá, Metropolitan
Museum of Manila, Fuica Ambrosio
Olivera, Edgardo Aragón, Challenger,
Margarita Dalton, Paula Duarte, Sebastián
van Doesburg, Guillermo Fricke, Jesús
Galindo, Ernesto González Licón, Luis
Hampshire, Gamaliel Jarquin, Claudio
Jerónimo López, Ezequiel Marín “El
Máskaras”, Oliver Martínez Kandt, Pedro
Martínez Velasco, Sósima Olivera Aguilar,
Adán Paredes, Uren Reck, Tlacolulokos
(Darío Canul, Cosijoesa Cernas y Eleazar
Machucho), Berenice Torres, Jesús
Torres, Luis Miguel Torres, Laureana
Toledo, Jaime Vera Estrada, Rubén
Vasconcelos, Emi Winter, Jessica Wozny,
to all the team at the Museo de Arte
Carrillo Gil and all those who helped
enrich this experience.
LARA 2014
Consejo Nacional para la Cultura y las Artes
Amanda Briggs
Director
Rafael Tovar y de Teresa
President
José Roca
Curator, LARA Collection
Saúl Juárez Vega
Cultural and Artistic Secretary
Tatiana Cuevas
Curator, LARA 2014 Edition
Francisco Cornejo Rodríguez
Executive Secretary
Alejandro Reynaud | MAPA
Production
Instituto Nacional de Bellas Artes
LARA is a project financed by
Asiaciti Trust
María Cristina García Cepeda
General Director
www.laraproyecto.org
Xavier Guzmán Urbiola
Assistant General Director of Architectural Heritage
Magdalena Zavala Bonachea
National Visual Arts Coordinator
Vania Rojas Solis
Director of Museo de Arte Carrillo Gil
Roberto Perea Cortés
Media and Public Relation Director
Museo de Arte Carrillo Gil • Av. Revolución 1608, San Ángel. C.P. 01000, Méx., D.F.
museocarrillogil
museocarrillogil
prensamacg
@Carrillo_Gil
www.museodeartecarrillogil.com