The Zona Maco art fair week (April 10–14) got off to a good start with the notion of a nude bird at Etienne Chambaud’s exhibition at LABOR called “The Naked Parrot.” The path was there, the bird absent. Rainbow-colored bird shit, echoed in the emailed invitation image of multicolored pigeons,...
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At the heart of this exhibition lurks a singularly misanthropic humanism. Never have I felt so simultaneously wanted and unwelcome, so integral and superfluous to a grouping of artworks. So delicate and poised are these pieces, and, in some cases, so potentially lethal, that the comparatively graceless human figure seems...
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One thing I have noticed about Mexico is a proclivity to let no part of an animal go to waste. Just the other night, I was in a famous twenty-four-hour taquería, El Borrego Viudo, and on the menu were not only cabeza (lamb’s head) and lengua (beef tongue), but also...
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With Katinka Bock, Etienne Chambaud, Hernán Díaz, Fabien Giraud, Karl Holmqvist, The Institute for Figuring, and Nicholas Mangan.
In the keynote essay for “Sinking Islands,” on view at LABOR, Mexico City, curator Vincent Normand provocatively asks, “What would be an exhibition of things flat-out alone, requiring the presence of no one?”...
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Art fairs—unlike biennales—aren’t allowed the luxury of an “off year.” And so it is that Zona Maco finds itself sandwiched between two Very Big years—with the opening of Carlos Slim’s Soumaya Museum last year and the debut of the David Chipperfield-designed facilities for La Colección Jumex slated for 2013. Now...
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Aleksandra Domanović’s practice analyzes socio-political transformations through the production of images and narratives largely based on popular culture. By decontextualizing and reconfiguring media content, Domanović delves into the accumulative nature of information and its intrinsic indexicality. Like many artists born on the communist side of the Iron Curtain, she is...
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