2020

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CEREBRO CON HUEVO, Biquini Wax EPS, Mexico City  (MX)
07/02/2020 - 17/02/2020
(Group exhibition)

organized by Maximiliano León (OFFSHOREd), New Jörg and Biquini Wax EPS

(español)
Porciones: 18

750g de Pintura
3 piezas de escultura
2 piezas de peliculas
1 pieza de Dibujo de
1 pieza fotografía
1 barra de jabón
1 pieza de picapuerta


Abdul Sharif Baruwa, Anastasia Jermolaewa, Andreas Walden, Anna Hofbauer, Axel Koschier, Dejan Dukic, Felizitas Moroder, Ina Aloisia Ebenberger, Ellen Schafer, Katarina Spielmann, Kjeld Undseth, Lilly Pfalzer, Lukas Weidinger, Maximiliano León,
Michaela Putz, Saskia Te Niklin, Stefan Reiterer, Viktor Lizana



1. Freír el Nuevo Jorge para preparar Cerebro con Huevo. Asar EXTRATERRITORIALd_ en la pintura, agregar bikini y asar mientras revuelve. Agregue fotografía, dibujo, video y asado con él.

2. Finalmente agregue la escultura picada. Arregle en porciones en platos y coloque una hoja de la puerta en el medio de un hueco.

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ART WEEK CDMX - Presentation of the MCE Collection, Colección MCE, Mexico City  (MX)
07/02/2020


Artists included in the collection:
Gabriel Orozco, Francis Alys, José Luis Sanchez Rull, Lucia Vidales, Christian Camacho, Frieda Toranzo Jaeger, Biquini Wax EPS, Juan Caloca, Alida Cervantes, Andy Medina, Marek Wolfryd, Mauricio Muñoz, Andrew Roberts, and many more.


Artists present:
Marek Wolfryd, Andrew Roberts, Mauricio Muñoz, Maximiliano León

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2019

Art for Children, ALBERTINA, Vienna  (AT)
13/11/2019
(Charity Event)

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MUSEUM OF NOW, Berlin (DE)
18/10/2019 - 27/10/2019
(Group exhibition)

with Amoako Boafo, Nour Shantout, Marius Glauer, Olek Nyc, Viktor Freso, Susanne Rottenbacher, TPT, Deus Ex Lumina, Valentyn Odnoviun, Denis Haracic, O'Mom Collective, The Krank, Robert Elfgen



Curated by:
Jan Gustav Fiedler, Denis Leo Hegic, Michelle Houston, Katia Hermann


Supported by:
ESTREL Berlin, Yes and Pro, Gallerytalk.Net, Berlin Art Society

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Selva de los momentos, Kunstraum am Schauplatz, PARALLEL VIENNA 2019, Vienna  (AT)
24/09/2019 - 29/09/2019
(Group exhibition)

with Claudia Schumann

invited guests:
Biquini Wax EPS, Gerardo Contreras, Karla Kaplun, José Eduardo Barajas, Lucia Vidales, 


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El jardín de Galileo, Guadalajara 90210, Mexico City  (MX)
15/06/2019
(Group exhibition)

with Zazil Barba, Victoire Barbot, Ambrosi Etchegaray, Franco Arocha, Yutaro Aoki, Chirstian Camacho, Edgar Cobian, Cousumalice, Sofia Cruz, Paola De Anda, Jimena Chavez Delion, Rodolfo Diaz Cervantes, Kristo Eklemes, Julie Escoffier, Ruben Garay, Manuela García, Alejandro García Contreras, Isauro Huizar, Omar Ibañez, Circe Irasema, Perla Krauze, Alberto López Corcuera, Daphne Lyon, Hector Madera, Josue Morales Bernal, Chavis Marmol, Celilia Miranda, Rodrigue Mouchez, Mario Navarro, Nomade Atelier, Santiago Pinyol, Diana Quintero, Sofia Reyes, Alejandro Romero, Marco Rountree, Alma Saladin, Ana Paula Santana, Jimena Schlaepfer, Andres Souto Vilaros, STROMBOLI, Aríel Ororzco, Fabiola Torres-Alzaga, Alvaro Ugarte, Lucia Vidales, Allan Villacicencio, Pilar Villela, Jay Velez, Invitado especial Galería Enrique Guerrero

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EBULLICION
06/06/2019 - 14/08/2019
(Group exhibition)

with Allan Villavicencio, Sofia Cruz, Christian Camacho, Lucia Vidales, Juan Caloca, Madeline Jimenez Santil, José Eduardo Barajas, Prras, Sangree, Karla Kaplun, Pablo Cendejas, Matias Solar, Victoire Barbot, Maximiliano León, Ana Segovia, NAAFI, Lilly Pfalzer, Andrew Birk, Alma Saladin & Marco Rountree, Daniel Hüttler, Paloma Contreras Lomas, Israel Urmeer, Daniel Aguilar Ruvalcaba



Curated by: Maximiliano León
Organised by: Maximiliano León, Andrew Birk and Lukas Willmann


 

EBULLICIÓN


pres­ents the work of twen­ty-six ar­tists ba­sed in or as­so­cia­ted with Me­xi­co City for the first time in Vi­en­na.
The show brings a sel­ec­tion of ac­tive agents in the field, from ar­tists to mu­sic coll­ec­ti­ves, to map out the extent of this di­ver­se net­work. Crea­ting
their own struc­tu­res outs­ide of in­siti­tu­tio­na­li­sed for­mats, ar­tists and crea­ti­ves have found that mu­tu­al re­co­gni­ti­on and ge­ne­ra­tio­nal sup­port
are the most ef­fec­tive ways of achie­ving vi­si­bi­li­ty and agen­cy. In a place with a po­la­ri­zed and un­sta­ble so­cio-eco­no­mi­cal base, and du­ring
times of at­ten­ti­on as cur­ren­cy, true co­ope­ra­ti­on ap­pears as the only way that the in­de­pen­dent parts can be­ne­fit from the force of the who­le.

Or­ga­ni­zed by Ma­xi­mi­lia­no León, An­d­rew Birk and Lu­kas Will­mann.

Curated by: Maximiliano León, Co curated by Andrew Birk
Organised by: Maximiliano León, Andrew Birk and Lukas Willmann

'In the last few ye­ars Me­xi­co City has ex­pe­ri­en­ced an in­ter­na­tio­nal­ly
ac­clai­med boom as a re­sult of a mul­ti-fa­ce­ted net of fac­tors. Ba­lan­cing
a de­li­ca­te equi­li­bri­um of safe­ty for outs­iders, and a vio­lent­ly cor­rupt
rea­li­ty, the mega city is on its way of be­co­m­ing a world ca­pi­tal for
cul­tu­re and tou­rism, mir­ro­ring suc­cess­ful ca­pi­ta­list mo­dels but -
li­te­r­al­ly - built on shaky ground.
In­te­gra­ting the aff­lu­ence and in­flu­ence of in­ter­na­tio­na­lism through the
wa­ves of ar­tists and young pro­fes­sio­nals floa­ting in and out of Me­xi­co
as one very spe­ci­fic type of glo­bal tou­rism, the crea­ti­ve sce­ne in the
city looks very dif­fe­rent now than it did in the 90s. The ques­ti­on is,
how does a par­ti­cu­lar idio­syn­cra­sy sur­vi­ve pro­ces­ses of exo­ti­ciza­t­i­on in
the mar­ket of iden­ti­ties, whi­le thri­ving in a world of new de­man­ds?'

-
Sira Pizá Airas


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PS1, Biquini Wax EPS, Mexico City  (MX)
11/05/2019
(Group exhibition)

with Wendy Cabrera Rubio, Gerardo Contreras, Juan Caloca, Ileana Moreno, 


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*”Richter” “Klasse” “Party”-Party*, Academy of Fine Arts, Vienna (AT)
24/01/2019 - 27/01/2019
(Group exhibition)

with Viktor Lizana, Kjeld Undseth, Kata Spielmann, Marc Henry, 


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*”Richter” “Klasse” “Party”-Party*, Academy of Fine Arts, Vienna (AT)
24/01/2019 - 27/01/2019
(Group exhibition)

with Viktor Lizana, Kjeld Undseth, Kata Spielmann, Marc Henry, 


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2018


HYPER AGAIN, MMIII Kunstverein, Mönchengladbach  (DE)
17/11/2018 - 25/11/2018
(Group exhibition)

with Matthias Franz, Ye In Lee, Sean Mullan, Conrad Müller, Elisa Schlifke, Veronika Suschnig, Yutao Gao, Conrad Müller, Denise Werth, Hakan Eren, Nina Buchheim, Axel Jonsson, Kai Cui, Pia Weissinger, Nina Gross, Mark Henry, Sven Raik Bernick, Alexander Toporka, Ina Aloisia Ebenberger, Tallal Shammout, Anja Neumann, Tim Sandow, Ida Gergely Borbála, Tine Nedbo, Fabian Köttl, Marina Pohl, Siamak Shojaei

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LA RAZA, Aa Collections, Vienna  (AT)
01/11/2018 - 16/11/2018
(Group exhibition)

with José Eduardo Barajas, Karla Kaplun, Sofia Cruz, Christian Camacho, Lucia Vidales, Allan Villavicencio, Marco Rountree Cruz, Marco Aviña, Daniel Hüttler, Fernando Garibay, Miriam Esther Meyer, Yaol Bruin, Pablo Cendejas


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II Salón abierto de Pintura, LADRÓNgalería, Mexico City  (MX)
15/12/2018 - 12/01/2019
(Group exhibition)


with Daniel Aguilar Ruvalcaba, Israel Urmeer, José Eduardo Barajas, Marco Aviña, Juan Caloca, Pablo Cendejas, Greta Pruneda, Carlos Martínez, Daniel Perez Coronel, Daniel Hüttler, Santiago Robles, Carlos Boyzo, Andrew Birk / Rodrigo Quintero / Natalia Fernandez, Lucía Vidales, Christian Camacho, Kasser Sánchez, Gibran Mendoza, Diego Salvador Rios, Claudia Uranga, Gina Mier, Lisa Giordano, Wendy Cabrera Rubio, Marek Wolfryd
and many more

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HYPER AGAIN, Academy of Fine Arts, Vienna  (AT)
25/10/2018 - 28/10/2018
(Group exhibition)

with Matthias Franz, Ye In Lee, Sean Mullan, Conrad Müller, Elisa Schlifke, Veronika Suschnig, Yutao Gao, Conrad Müller, Denise Werth, Hakan Eren, Nina Buchheim, Axel Jonsson, Kai Cui, Pia Weissinger, Nina Gross, Mark Henry, Sven Raik Bernick, Alexander Toporka, Ina Aloisia Ebenberger, Tallal Shammout, Anja Neumann, Tim Sandow, Ida Gergely Borbála, Tine Nedbo, Fabian Köttl, Marina Pohl, Siamak Shojaei


Curated by:    Daniel Richter

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CONNECTION, Oliwa Town Hall of Culture, Gdansk  (PL)
17/10/2018 - 24/10/2018
(Group exhibition)

CONNECTION, WL4 Art Space
, Gdansk  (PL)
18/10/2018 - 30/10/2018(Group exhibition)


with Adam Cohen, Jelena Micić, Georgij Melnikov, Miriam Esther Meyer, Gert Resinger, Florian Lang, Žarko Aleksić, Vera Klimentyeva, Offerus Ablinger, Florian Appelt, Jasmin Hagendorfer, Mathias Hanin, Lluis Lipp, Verena Andrea Prenner, Michaela Putz, Lena Rot, Joseph Rudolf, Ela Sattler, Anna Schebrak, Patrick Roman Scherer, Bojana Stamenkovic, Anny Wass, Gerald Zahn, Izabela Borkowska, Rafał Borkowski, Zuza Dolega, Angelika Fojtuch, Łukasz Głowala, Tomasz Gos, Anna Gross, Dominik Kulaszewicz, Adriana Majdzińska, Magdalena Nowak, Magdalena Pela, Letycja Pietraszewska, Czesław Podleśny, Yana Pozorska, Marek Looney Rybowski, Fundacja Unikat, Daniel Sobański, Maciej Śmietański, Mariusz Waras


Curated by:   Anastasia Soutormina and Anna Julia Lewandowska

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Sobreviviré, 12-14 Contemporary, Vienna  (AT)
29/09/2018 - 29/09/2018
(Group exhibition)

with Jorge de León, Sofia Cruz, Agustín Sánchez, Manuela Picallo Gil, Marlene Lahmer, Michael Pöllinger, Roberta Palla


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I can bite the hand that feeds me, and gently caress it too, Carbon 12, Dubai  (AE)
17.09. 2018 - 31.10. 2018
(Group exhibition) 


with André Butzer, Tamara Al Samerraei, Bernhard Buhmann, Jane Corrigan, Andrea Joyce Heimar, Paula Kamps, Amir Khojasteh, Philip Mueller, Nazim Ünal Yilmaz


 

André Butzer’s figures with oblong eyes and flattened perspective are framed by the phrases “Nasaheim Repeated” and “Nasaheim Remembered”. In homage to how the past informs the future, Butzer’s words activate the comprehensive survey of contemporary figuration, I can bite the hand that feeds me, and gently caress it too. Artists hailing from Canada and Iran, to Kuwait and Mexico exhibit new paintings, which despite being imbued with discreet, distinct intent, unite under a shared universal consciousness. Nodding at the reemergence of classical portraiture, the works equally denote the necessity of abandoning the very canons that constitute it.

 

Personal experiences taint objective portrayals of appendages and closely framed visages—whether Philip Mueller’s manipulation of mythology with twisted fantasy, Amir Khojasteh’s faces perceived through a lens of existential fear, Butzer’s infusion of hyper stimulation, or Maximiliano León’s uncanny straddling of the latter two. Fleshy painterliness, naïve bodily depiction, brute material application and liberal tonal interpretation may further connect Andrea Joyce Heimar, Nazım Ünal Yılmaz and Tamara Al Samerraei—but so do the undertones of absurdist narrative that resonate through works by Jane Corrigan and Paula Kamps, or Bernhard Buhmann’s sociological take on The Spectacle.

 

Each recognisable character is brought to life through a refreshed take on form and formalism, providing visceral confrontations with the nuances of the human condition, the obscurity of anatomy, and its interaction with the environment. Traces of Cubism, Expressionism and Surrealism echo throughout—but the tenets of these schools are subverted. The influences upon the bodies of work are palpable, but so are the artists’ visual DNAs, which offer parallel timelines of figuration’s progress. Edging forward cyclically, the paintings honour bygones while seeing the idiosyncratic growth of their painted figures take precedence—biting the hand that feeds them, but gently caressing it too.

 

— Katrina Kufer, July 2018



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How to wear a face, Gallery G99, Brno  (CZ)
22/05/2018 - 30/06/2018
(Group exhibition)

with Lucia Elena Prusa, Lilly Pfalzer, Oscar Cueto, Jimena Mendoza, Daniel Hüttler

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Do you believe in Life after Love?, Deslave, Tijuana  (MX)
17/03/2018 - 17/04/2018
(Group exhibition)

with Alida Cervantes, Marisa Raygoza, Alan Sierra, Lucía Vidales, Israel Urmeer
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2017


GELD, Academy of Fine Arts Munich, Munich  (DE)
15/12/2017 - 17/12/2017
(Group exhibition)


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Libertad por el sabor, Colegio Nacional, Mexico City  (MX)
21/10/2017 - 20/10/2017
(Group exhibition)

with Alejandra Avilés, Alejandro Gómez Arias, Andrea Medina, Berenice Olmedo, Carmen Huizar, Daniel Pérez Coronel, Ha Vi, Invasorix, Irak Morales, Israel Urmeer, Josué Mejía, Juan Caloca, Ling Sepúlveda @ Obstante, Lucía Vidales, Marco Aviña y Marek Wolfryd, Naomi Rincón Gallardo, Paloma Contreras Lomas, Pamela Zeferino, SANGREE, Sofía Abraham, Wendy Cabrera Rubio

Curated by:   Bikini Wax EPS


 

LIBERTAD POR EL SABOR

Montaje grupal de momentos plásticos en el Colegio Nacional

Entras por Donceles

y miras un tapete

lo pisas hasta quitar esa canción de Shakira de tu suela

y encuentras unas monedas mexicanas hasta de tres ceros

que parecen de un ninja numismático subdesarrollado

dan vueltas

y en las espaldas del dinero se asoman advertencias

cuatro rótulos

miras tu ropa y sabes qué provocas

y te escondes de las miradas

en un arbusto

ahí escuchas cómo se desgarra una piedra

un chamula tectónico inclina a un colonizador 70 grados

¿en qué parte de abajo del infame peso de la Conquista quedó todo?

hay momentos en que dos escaleras que nunca se juntan

terminan violentamente compartiendo peldaños

y te quedas como una rata callejera taxidermizada

preguntándote en medio del mar

a quién le pertenece tu insignificante cuerpo

y aparece América vista desde las tres carabelas

y tu cuerpo pasa a ser parte de la Corona transgénica

que una real Crispr-Cas9 trae puesta

mientras escribe la última literatura política posible que es la genética

una garra de un águila que pesa 100 pesos te rasga la pupila

y sin controlar la entrada o salida de luz

de la garra brota un águila y se posa sobre América

que es un balón de fútbol

y detrás

una granada cae

cae perpetuamente durante estas fechas porque es fruta de temporada

antioxidantes naturales detonan las células cancerígenas

de la cabeza voladora del cura Hidalgo

y su gusto por colores y prendas que anticipan el look anarquista

activan los minerales de la fuente de la juventud de El Colegio Nacional

construída sobre un templo de la fertilidad

y efervece un rapero prehispánico de roca, sin glande, con tatuajes

imágenes de un pasado que parece demasiado presente

tan presente

como el olor de la carne asada y la libertad por el sabor

que desencadena la vaca luego de ser asesinada y quemada

como las calorías mientras te imaginas bailando corridos caribeños

relatos de la realidad de la pulpa de lxs perrxs

un perrealismo mágico entre naranjos de misioneros

tan fuerte es la gravedad del perreo que Juan Villoro es aplastado por un tren

desacelerado en una de tres dimensiones

tarda veinte minutos


en un trayecto que normalmente haría en un minuto

y durante la desaceleración irrumpe un coro de voces que siempre han estado ahí

y que ahora entonan macho intelectual

y te sientes aludido porque hablas de Foucault y poliamor en tus ligues progres

no puedes superar a esos que, te dijeron, eran tus primeros padres

la historia de la hetero manzana y la costilla patriarcal

y aparece una víbora que no es católica, ni satánica,

es de otra religión

la que trae lluvia

porque borra marcas en la arena

ahora desvanece una trasnacional de tabaco

con su cascabel que suena

como si Chubaca leyera un poema de Dolores Dorantes

investido con la banda presidencial

y el rojo se derrama hasta las caras de un grupo de punks

que cantan a la autonomía y brincan de la autogestión a la organización

como esos polines que sostienen la pintura que será

mientras lo que es guarda la pintura que siempre ha sido

de castas

un pantone racial de jamón

con el que se sirve el sandwich de salario mínimo de inconciencia de clase

como si se tratara de un Tercer Imperio Mexicano

diseñado por emperadores austriacos de sangre monetarista y neoclásica

y luego la sombra de un águila

siempre la sombra

de un águila en la noche

que se aleja por Luis González Obregón
 

-- BWEPS (September 2017)



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RUINA 2000, Isabel la Catolica 231, Mexico City  (MX)
17/08/2017 - 07/09/2017
(Group exhibition)

with Melquiades Herrera, Guillermo Santamarina, Felipe Ehrenberg, Juan José Gurrola, Karla Kaplun, Santiago Merino, Romeó Gómez López & Diego Cid, Alonso Cedillo, Sarah Minter, Santiago Mohar, Pablo Cendejas, Natalia Marmolejo, José Eduardo Barajas, David Miranda


Curated by:   Pablo Cendejas


 

Ruin 2000 is a curatorial endeavour with the purpose of displaying a contention, that parts from fictional economical, political and social statutes, put forward by centralised, mexican governmental initiatives.

These gave way to what is being shown, performed or speculated in the current venue.

Works on display were specifically made for this project, with the aim of being contrasted by reinterpretations of earlier pieces, by artists whose work shaped an alternative path to producing and distributing, not

concurring with figures, who later on became prominent by adopting a dogmatic notion of neutral architecture, capable of displaying ideologically erosioned cultural initiatives, while optimising visibility. An alternative view

was achieved, on how the denomination of worth, or value was structured locally, while refusing a kind of distribution based on displaying stabilised results.

Regarding the consumption of symbolic assets, Mexico was greatly influenced after the NAFTA by imported televised content. Regardless of quality, these contents where broadcasted, and privileged by lack of com­petition, deploying a set of values, that targeted young receptors, increasing their adaptability to democratic, consumerist, radical views.

Meanwhile, relatively recent paradigms from the United States, identifiable within so called conceptualism, were being applied through emotional strategies to the mexican situation of the moment, generating thus a turning point without which is difficult to talk about mexican contemporary art. Some mexican artists upgraded to cos­mopolitan ways of showing work (or being shown as work themselves), and made it simultaneously

polemic and neat to the eye, maintaining a mildly controversial, politica theme.

Correspondingly, it was the inconspicuous strata of the comfortable bourgeoise, who mimetized the aesthetic and moral values proposed by the incoming, northern massive entertainment, consisting mainly of comedy.

Ideology takes the shape of a medium, in a broad sense. On the other hand, the specific effectivity of the craft, with which the medium is used, is determined by how far it lies from being subject to description by its own means.

The NAFTA imposes power over the dynamics of production because it exists outside of the logic of produc­tion and yet, its reach circumscribes specific human interactions, while being incapable of stipulating its own

scope as a political entity of any measure, within any statute.

Due to the obscure composition of its legitimacy, -which operates under the same logic of witchery or sha­manism- the regulation seeks perfection through abstraction, and the effective operation under HER, depends on how an individual is able to consequently decipher the nature of a certain set of legal parameters that will constantly vary, being the written aspect of the parameter subordinate to a locutionary context.

Is it true that job scarcity could’ve been ended had mexicans started listening to U2?

When regulations become so easy to follow that they are nullified, it will be the majority which will enjoy the privileges of government, or the lack thereof. In the case of all contemporary legal systems, we learn that the

language of the law is elitist, and unfair. This last principle applies to the trade agreements made under the framework of the law.

This exhibition is about an image of a gone and past Mexico, and

perceiving it is made possible by art that was not made, and that is, in its

essence alternative.

-- Pablo Cendejas (August 2017)



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‘Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why? Why?‘, Isabel la Catolica 231, Mexico City  (MX)
21.07. 2017 – 06.08. 2018

 


with Allan Villavicencio, Abraham González Pacheco, Ana Segovia, Carlos Martínez, Christian Camacho, Clemence Seilles, Diego Gamaliel, Diego Sálvador Ríos, Guillermo Rosas, Gwladys Alonzo, ,Israel Urmeer, José Eduardo Barajas, Karla Kaplun, Keke Vilabelda, Lisa Giordano, Lourdes Martínez, Lucia Elena Průša, Lucía Vidales, Matías Solar, Pablo Cendejas, Todolotratocontigonohayerror (Marco Aviña), Victoire Barbot, Yaol Bruin


Curated by:    Maximiliano León



 

Soluciones

Que fui paloma por querer ser gavilán

Cortinas: artistas muestran obras que normalmente no producen

Dos artistas van a incluir cortinas en sus obras

Ella produce cuadros para abstraer las formas paso por paso

No es Pintora, ni va a mostrar pintura

Capas, cortinas, escondiendo cosas debajo de las capas

Salón de sentimientos

Tómate esa botella conmigo

Salón de sentimientos y materia

Recuerda un poco a la pintura de Miró

Salón de emociones

En ese proceso encontró una forma de crear una pintura sin usar pintura en sí

Sentimientos

Extensiones

Se concentra en abstracción

Efectos de emociones en el arte

Eso no escribí yo

+1

Así es la vida.

-- Maximiliano León, José Eduardo Barajas, Marco Aviña, Pablo Cendejas (June 2017)


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Recomendaciones minimas para caminar de espaldas’, Museo Ex Teresa Arte Actual, Mexico City  (MX)
13.07. 2017 – 13.08. 2017

 


with Circe Irasema, José Eduardo Barajas, Marek Wolfryd, Wendy Cabrera Rubio, Karla Kap­lun, Fernando Garibay, Natalia Marmolejo, Carmen Huizar, María Emilia Abarca Tortolero, Jaime Aguilar Fragoso, Diego Aguilar Reséndiz, Miguel Alejandro Albarrán Lagunas, Cristóbal Altamirano Gilardi, Ángel Marín Álvarez Rivera, Eréndira Aponte Fernández, Eloy Pab­lo Arellano García, Victoria Yiritzin Barrientos Rosado, Arturo Barrios Mendoza, Fernando Bautista Bautista, Yamel Colín de la Vega, Yanalí Cruz Coca, Horacio de la Rosa Téllez, Santiago del Conde Morales, Rodolfo Díaz, Silvia Carolina Durán López, María Antonia Eguiar­te Souza, Daniela Flores Arias, Perla Garrido Crespo, Anna Grygorcewicz Dominika, José Manuel Guasco Vital, Víctor Hugo Gutiérrez Alvarez, Tania Angélica Hernández Duarte, José Eduardo­ Hernández Pavón, Alejandro Arjuna Herrera Creel, Jaime Huerta Huerta, Hugo Alejandro Ildefonso Esquivel, Miguel Alejandro Jiménez Chávez, Karina Juárez Lucero, Marta Paulina Lozano García, Zoe Lunar Gámez, Rodrigo Maldonado Macías, , José Luis Marroquín Robles, Miguel Job Martí­nez Allende, Jesús Levi Maya Dorantes, Georgina Mier Rodríguez, Romeo Mijangos Cavero, Tiziana Mimendo Capuchino, Santiago Muedano Díaz, Levi Nieto Jurado, Joel Iván Olvera Salinas, María Fernanda Oropeza Fernández, Óscar Orlando Órtiz Chávez, Emiliana Perdomo Martínez, Erika Pérez Carranza, Sharon Pérez Ríos, Renata Petersen de la Torre, Andrea Pineda Nuñez, Víctor Manuel Portillo Rodríguez, Katya Denisse Ramírez Hernández, Blanca Flor Reyes Gutiérrez, Adrián Rivera Durán, Ofelia Rivera Vázquez, Nabil Yanai Salazar Sánchez, José Emanuel Sánchez Concha, Edwin Iván Sánchez Mancilla, Lorena Sequeyro Monjaraz, Gabriela Solís Garduño, Daniel Terroba Schlam, Mariana Torres Díaz, Claudia Uranga Alonso, Silvia Marisol Valderrama Alvarado, Andrés Zapata Flores

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BURBUJA, Zacahuitzco 48 B, Mexico City  (MX)
13.05. 2017 – 20. 05. 2017


with Andrew Birk, Allan Villavicencio, Gwladys Alonzo, Sofía Fernández, Yeni Mao, Clemence Seilles



A Contemporary Reading of The Bubble

Come to where the flavour is. A Marlboro slogan from 1975, long disappeared but nevertheless apt. I smoke Marlboro Ambers, those flavoured cigarettes with a bubble you can click depending on your preference. I get a lot of shit for them. The joke that never gets old. 
Once I cracked open one of the filters to see what I was ingesting. A plastic bubble presented itself, deep emerald green cushioned in white cottony fibre. It looked straight out of Alien, with an alluring pearlescent sheen. Still I smoke and I click. I'm OK. 

The need for variety is a contemporary condition. More precisely, this motivation is not new, but the access to more is increasingly available. What's your flavour? I'm still figuring out mine, meanwhile others seem equally unable to ascertain theirs. Take the bubble, which traditionally evoked ideas of protection and otherworldliness: in this current incarnation of the flavoured cigarette it also offers you more. More possibility to damage yourself and others around you. 

In Burbuja we see a selection of artists conscious of this state of desiderata. Departing from the concept of the artist's studio as a bubble, principles of safe space and a network of contemporaries are at once put forth and pulled apart. A central space - the bubble - has been cleared in reconsidering the relativity of the floor, walls and ceiling. Exhibiting sculpture, painting and installation, raw materials and potent colours diverge from powdered pigments and seemingly static objects perched at insidiously leaning angles. 

Distinct processes and practices are consciously brought together in Burbuja with the intention of cohabiting as a means of new possibility. Removed from the limitations of a gallery or museum, the artist's studio appears redefined and its variations, plural. Yet nothing is taken for granted and everything is used economically.

Be kind to your bubble and protect yourself. It's a rough world out there. 

-- Carly-Ann McGoldrick

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2016


Salón abierto de Pintura, LADRÓNgalería, Mexico City  (MX)
09/12/2016 - 21/12/2016
(Group exhibition)

with José Luis Landet, Israel Urmeer, Juan Caloca, Andrea Ferreyra, Circe Irasema, Marco Aviña, Pablo Cendejas, Daniel Pérez Coronel, Marek Wolfryd, Allan Villavicencio, Michelle Saenz, Irving Cruz, Abraham González Pacheco, Victoire Barbot, Wendy Cabrera Rubio, Nicolás Zavala, Patricia Soriano, Diego Sálvador Ríos, Laos Salazar, Milton Mendoza, Ulises Durero, Erendira Romero, and many more.



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EFECTOS ESPECIALES, Galería Diagrama, Mexico City  (MX)
14/12/2016 - 20/02/2016
(Group exhibition)


with Christian Camacho, Diego Gamaliel, Adrián González, Julián Madero, Carolina Magis, Tláhuac Mata, Adán Quezada, Rafael Uriegas, Lucía Vidales

Curated by:   Octavio Avendaño Trujillo


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2015


ARTmART, Künstlerhaus Wien, Vienna  (AT)
18/11/2015 - 22/11/2015
(Group exhibition)

 

with Amoako Boafo, Ana Loureiro, Anna Khodorkovskaya, Anna Schachinger, Anna Vasof, Begi Guggenheim, Bruce La Mongo, Christian Eisenberger, Elisabeth Samsonow, Elsa Okazaki, Ernst Miesgang, Eva Kadlec, Franz Graf, Iv Toshain, Jakob Lena Knebl, Jean Pierre Cueto, Jeremias Altmann & Karolina Preuschl, Judith Rohrmoser, Julian Palacz, Karin Ferrari, Karl Kilian, Lluis Lipp, Olivier Hölzl, Oswald Oberhuber, Sara Glaxia, Sebastian Schager, Sissa Micheli, Stylianos Schicho, Sula Zimmerberger, and many more



ARTmART Curators 2015:
Anne Faucheret (Kunsthalle Wien)
Barbara Rüdiger (MUMOK Wien)
Juliane Feldhoffer (Kunsthalle Krems)

 


Independent curator:
Vitus H. Weh

 


Curator/Artist:
Anna Khodorkovskaya (artist and curator)
Christian Bazant-Hegemark (artist and curator)
Christian Rupp (artist and curator)

 


Artist-Run-Spaces / Alternative Spaces:
Friday Exit
Kunstraum SUPER
kültür gemma!
mo.ë
One Work Gallery
Büro Weltausstellung


Art School Professors:
Elisabeth von Samsonow
Judith Eisler
TransArts Leitungsteam

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2015


WAF REVIEW 2014, Kunstraum am Schauplatz, Vienna  (AT)
10/12/2014 - 23/12/2014
(Group exhibition)


with Mar­tin Gran­dits, Matthias Buch, Alex­an­der Rut­h­ner, Mi­chi Lu­kas, Cut n' Scra­pe,  Begi Gug­gen­heim, Ste­li­os Ka­ra­ma­no­lis, To­bi­as Lintl, Ma­rio Nu­bau­er, Pa­nos Pa­pa­do­puo­los, An­net­te Tesarek, Tin Tro­har, So­fia Tou­bou­ra, Pav­los Tsa­ko­nas, Ab­dul Sharif Ba­ru­wa

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PARALLEL VIENNA 2014, Vienna  (AT)
01/10/2014 – 05/10/2014



Participating Artists:
Adnan Alijagic, Adeeb Ashfaq, Erwin Bohatsch, Mike Bouchet/Paul McCarthy, Olivia Coeln, Beatrix Curran, Svenja Deininger, Nicolas Dellamartina, Thomas Draschan, Dejan Dukic, Mads Egeberg Hvidfeldt, Christian Eisenberger, Shepard Fairey, Sofia Goscinski, Martin Grandits, Benjamin Grodin, Markus Jagersberger, Anna Khodorkovskaya, Jakob Lena Knebel, August Kocherscheidt, Matthew Lenkiewicz, Angelika Loderer, Michi Lukas, Luke McArthur, Phelim McConigly, Jelena Micic, Milan Mladenovic, Tanja Nis-Hansen, Matthias Noggler, Josip Novosel, Rade Petrasevic, Raymon Pettibon, Florian Pfaffenberger, Judith Rohrmoser, Christian Rosa, Alexander Ruthner, Anna Schachinger, Leander Schönweger, Björn Segschneider, Tamuna Siribiladze, Piotr Sokul, Katarina Šoškic, Nino Stelzl, Marina Sula, Julian Turner, Simon Veres, Kerstin von Gabain, Antony von Renner, Franz West, Erwin Wurm, Min Yoon, Heimo Zobernig, and many more …

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Jedes Stück ein Euro, O.T., Vienna  (AT)
21/08/2014
(Group exhibition)


Zatar, Marzena Wolowicz, Zarko Aleksic, Jelena Micic, Masha Dabelka, Laura Hinrichsmeyer, Lyudmila Anoshenkova, Anke Armandi, Ivica Capan, Nicholas Hoffman, Eleni Kampuridis, Larissa Kopp, Sanja Lasic, Jörg Gottschalk (Milchring), Stephan Koegl (Milchring), Anthia Loizou, Johannes Niesel, Olga Pastekova, Masha Sha, Martina Simkovicova, Bartosz Sikorski, Mario Strk, Andrea Wallenta, Roswitha Weingrill

Curated by:   Anna Khodorkovskaya   
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2015


EDITA: Self-Publishing practices in contemporary Mexico, Belvedere 21 – Salon für Kunstbuch, Vienna  (AT)
05/09/2013


with Antonio Álvarez, Helena Fernández-Cavada, Hugo Crosthwaite, Inechi the Citámbulos, other collectives and independent editors such as Ediciones Hungría, La Cartonera, El Fanzine, Monocromo, Joc Doc und Taller de Ediciones Económicas.

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DIORAMA, UBIK, Vienna  (AT)
2013


with Jean-Pierre Cueto, Michael Brunner, Ana Loureiro Fernandes

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