LARmagazine

Year 0, No. 3 October - November - December 2010

magazine

LARmagazine

Director Catalina Restrepo Leongómez Art Director Jorge Carrera Necoechea Editor Rocío García González Contributors Adriana Restrepo Floria González Semíramis González Cover Isak Kanarek Photography: Cortesía de los artistas Acknowledgements: Isak Kanarek Alfadir Luna 0

EDITORIAL

EDITORIAL

About self-management and its ways

of those who want to see what I do. Off course, you can’t show what you do if it is not good enough, you have to have some respect for those eyes that will see it, and yours as well. Fortunately we are part of the XXI century and its wonderful -and not so wonderful- contributions to humanity,

How to look for spaces and opportunities today? I have wondered this since I decided to work inside the art fields, and I’m certain that I’m not the only one. But at the end, I realize that it’s easier than I thought; that it really wasn’t that necessary to torture myself thinking about how to reach the eyes 1

EDITORIAL

which as long as the phenomenon of globalization, made possible that the work of those who pretend to make arts can get a benefit out of it.

It is also important to note that, talking about new alternatives that facilitate our work -such as web pages, social networking and e-mail accounts- is a big deal. Internet is not just about surfing and explore, It is an invaluable tool.

Nowadays we discuss about selfmanagement, but how to understand this concept without Internet? Being the effectiveness of social networks the most obvious manifestation of this phenomenon.

Providing a service to anyone who has a computer, (an email account, and 10 bucks for paying an hour at the cybercafe, in case you do not have one at home) the chance to access to the infinite world of infinite possibilities; allowing the user -in this case an artist and / or person connected with art- to promote his/her own work, showing it to anyone who initiatively or accidently, come to his/her social network profile or web site. That’s why in this third edition we present an article written by one of our international contributors, Semíramis González, a young art critic from Spain, who wrote an article in which she describes

a series of projects that share the desire for self-management; projects that have sprung up around the world, under the premise of promoting the creation of new exhibition spaces.

At the same time, we present an article written by another international collaborators; Adriana Restrepo, a Colombian journalist, who tell us details about Project Japan, a project developed by the artist Miho Hagino and his boyfriend Taro Zorrilla, showing us a closer perspective to the reason that motivated this initiative, highlighting one of the most stirring stories that creators found along the way.

In this issue, we also had the opportunity to meet and interview Isak Kanarek; giving the odds that he had acquired, within his extensive collection, pieces from four of the artists that we are presenting now. His house contains wonderful pieces of folk art, modern and contemporary art, in which pieces by Ivan Villaseñor, Javier Gutierrez, Carlos Perez and Emilio Bucio Rangel can be found; artists that make up the updated portfolios section of this third issue, along with Juan Antonio Sánchez Rull.

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EDITORIAL

And finally, we recommend you a new contemporary art space called TOKIO29, and the new project that we are working on inside Living Art Room: LARdocs, short documentaries in which every artist talks and explains the concepts that they works with, artistic influences and the context in which their work is developed. This is a great example of team work and resourcing in order to promote the artists better

We hope you enjoy LARmagazzine In this third issue of LARmagazine you will find the new artist portfolios of Christophe Boufill, Floria González, Pablo Cotamo, Alejandra España, Mar y Sol Rangel and Julio Pastor

Rocío García González Editor LARmagazine www.livingartroom.com

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CONTRIBUTORS

CONTRIBUTORS Adriana Restrepo

Floria González

Semíramis González

Adriana Restrepo: Prominent journalist from Colombia. She began * her career working for the magazines GATOPARDO and RollingStone Latin America. She has worked for such major publishing houses like Condé Nast, being editor of Glamour magazine, and Bauer, as director in a specialized publication in teenage culture.

Currently, she writes independently for different media.

Floria González: Photographer and filmmaker from Monterrey , who has an excellent work as an artist. She has worked with different recording labels making the art and photography for several albums.

Natalia Lafourcade, Moderato, Juan Manuel Torreblanca and Camilla, among others are artists who have been portrayed by Floria. She also has been director of several video clips, and now she is been working on two short films and a feature film under her direction, with scripts written by herself.

Semíramis González: Born in Asturias, Spain, Semíramis is an art critic and historian, specialized in European medieval art, Land Art and sustainable architecture. She combines her studies writing for catalogs, magazines and several galleries. Her interest in promoting art has led her to teach children in order to encourage new audiences.

* Photo by Imagina T

www.gdegato.com

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semiramisenbabilonia.blogspot.com

CONTENTS

CONTENTS New Artist Portafolios P:08 Floria González FICTION OR REALITY P:20 Alejandra España NATURE P:032 Julio Pastor DAILY LIFE P:46 Christophe Bouffil ON THE ROAD P:62 Mar y Sol Rangel SELF-PORTRAIT P:70 Pablo Cotama OVERRUN PAINTING. Interview P:82 ISAK KANAREK by Catalina Restrepo. Artist Portafolio updates P:96 Carlos Pérez Bucio P:106 Javier Gutiérrez P:118 Iván Villaseñor P:132 Emilio Rangel P:142 Juan Antonio Sánchez Rull Artículo P:154 JAPAN PROJECT

by Adriana Restrepo. Special P:162 ART AND NEW WAYS FOR EXPOSURE by Semíramis González Proyecto P:168 First documentary LARdocs. P:170 Recommended TOKIO 29 by Catalina Restrepo

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LARmagazine

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NEW ARTIST PORTFOLIOS

NEW ARTIST PORTFOLIOS

Christophe Bouffil (France) (Mexico) Mar y Sol Rangel Floria Gonzรกlez ( Mexico) (Mexico) Pablo Cotama Julio Pastor (Mexico)

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FLORIA GONZÁLEZ

Series Mirreal, 2006

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FLORIA GONZÁLEZ

FLORIA GONZÁLEZ Fiction or Reality

Floria Gonzáez is an artist who grew up in northern Mexico, so her work is heavily influenced by the proximity to the United States. Her work mainly focuses on photography and video, however, we give priority to her photographic work. In her series, it is always perceived her constant interest about the relation between the evil and good side of everything, which comprises every decision we make in life.

Her technique is very careful, and because she builds the sets and lighting design, she manage to show up the cinematographic atmosphere that her images posses.

documentation, where what you see may or may not be true, using the aesthetic appeal of the cinema, where images tell a story. This becomes clear in the series called EsTOYco (2008-2009), which she presents several portraits of people accompanied by objects, which gain a great importance in the narrative image. This work stems from the interest of the artist to photograph an individual with a childhood toy, as an element that would later define the adult life. She is currently in preproduction of a film set from a script written by her.

Literature and cinema are influences reflected on her work, now that fiction is an important element in both. Even on the contrary, when photography carry the idea of register and a character of being truthful, her series are transformed into the image 9

FLORIA GONZÁLEZ

Series MexTex, 2008-2009 10

FLORIA GONZÁLEZ

Series EsToyCo, 2008-2009

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FLORIA GONZÁLEZ

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FLORIA GONZÁLEZ

Series Caer/To Fall, 2009

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Series FIN…/The End…, 2007

FLORIA GONZÁLEZ

Fraum Blaum, 2009- 2010

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FLORIA GONZÁLEZ

Fraum Blaum, 2009- 2010 Series FIN…/The End…, 2007

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FLORIA GONZÁLEZ

Series Mirreal, 2006

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FLORIA GONZĂ LEZ

www.livingartroom.com/floria_gonzalez

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Animales del Bosque, 2009 project developed with the support of c FONCA with the Exchange residence programm

ALEJANDRA ESPAÑA

ALEJANDRA ESPAÑA Nature

Alejandra España’s work is based on the genuine interest about nature and its forms.

In her pieces, animals, plants, fossils, etc., can be appreciated, elements that are always refering to ecosystems. Although her compositions can visually be chaotic, because of the amount of elements that she uses, her proposal has her own style.

Alejandra explore different techniques, graphical and sculptural, her work reveals her deep interest in the cabinets of curiosities. She collects and archives images from old biology and botanic books, and uses them for making collages or frottages in her works.

This action of gathering stuff is essential in her work, the reason is that all of these things are going to be a part, and stay marked, in every single one of her pieces; especially in her ceramic ones. Those found objects become, not only elements of the work physically; she uses found objects such

as branches, pine seeds and rocks finds to create textures in the mud that will become part of the work itself in a symbolic gesture.

In many of her pieces Alejandra includes texts, exposing the relationship between man and nature, reflections on human behavior to its environment. Animals such as crows, squirrels, foxes and bears, among others, are the protagonists of his compositions. In others, the artist gives the viewer the opportunity to interact and create new beings, as in her series “Family”, where ceramic sculptures of interchangeable parts allow each piece to become a strange animal, a monster, an hybrid.

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ALEJANDRA ESPAÑA

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ALEJANDRA ESPAÑA

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ALEJANDRA ESPAÑA

Buffon, 2007 24

ALEJANDRA ESPAÑA

Clan de os Osos, 2007 25

ALEJANDRA ESPAÑA

Untitled, 2007

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ALEJANDRA ESPAÑA

Untitled , 2007

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ALEJANDRA ESPAÑA

200 Cholugas, 2006

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ALEJANDRA ESPAÑA

Monstruos, 2007 29

ALEJANDRA ESPAร A

Como me ves, te verรกs, 2007

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ALEJANDRA ESPAĂ‘A

www.livingartroom.com/alejandra_espana

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JULIO PASTOR

Mi vida cotidiana en mi nuevo hogar, 2008-2009

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JULIO PASTOR

JULIO PASTOR Vida cotidiana

Julio Pastor’s watercolors are truly impressive. With a great technique, he presents series in which drew spaces and belongings talk about the memory through objects. Unlike photographs, drawings can convey that sense of memory, these images which exist in mind, sometimes are not so clear, they can change and, at some point, be too distant from the actual image or photographic register; because they involve feelings and emotions relating to the moment when they were seen for the last time.

and furniture ... all the surroundings of what he can call home, what he feels as his own, things that he has marked, where he has lived.

The trace are equally important in Julio’s work, whether their own or someone else’s.

One of his most poetic project, called “following the Shadow”, 2007, consists in following the steps of Sophie Calle and Duluc private eye agency (that she hired through her daughter in order to follow her one day in the spring of 1981) and record the trail with instant photography and drawings from the visited places. Of course, this tour was not written literally in some book or study for him to follow, so Julio, in a detective-like mission, looked for past exhibitions, books, texts, and anything that might give him some clue in order to reconstruct the trace.

In his series “Portraits from loan objects “, 2008, it is clear that the artist’s interest in subtlety preserve an image of his friends trough their belongings; It describes their personality, talk about their tastes, experiences or interests. Other series, such as, “My daily life in my new home,” 2008-09, the artist shows his belongings 33

JULIO PASTOR

Mi vida cotidiana en mi nuevo hogar, 2008-2009

The life experiences of each person leave marks, and both, objects and lived-places, witness them. Through his work, Julio brings out these stories and let the memories embodied through their drawings, paintings and projects.

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JULIO PASTOR

Explorando Groningen II, 2009 35

JULIO PASTOR

Explorando Groningen II, 2009

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JULIO PASTOR

Evidencia, 2009

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JULIO PASTOR

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JULIO PASTOR

Evidencia, 2009

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JULIO PASTOR

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JULIO PASTOR

Retratos a partir de objetos prestados (Iztel), Â 2008 41

JULIO PASTOR

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JULIO PASTOR

Retratos a partir de objetos prestados (Xiao Ling), Â 2008

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JULIO PASTOR

Siguiendo a la Sombra, 2007

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JULIO PASTOR

www.livingartroom.com/julio_pastor

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CHRISTOPHE BOUFFIL

Series On the Road, Patagonia, Chile, 1995

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CHRISTOPHE BOUFFIL

CHRISTOPHE BOUFFIL On the road

These days, he is about to present a new book bearing the title “Free in Cuba”, on which he has been working for a couple of years. This is a graphic research depicting the various aspects of the Cuban society.

The book shall contain texts, portraits of people and landscapes, for the sole purpose of showing to everyone the cheerfulness and simplicity characteristic of the Cuban people; an artistic project, far from any intention to reflect any sociopolitical The recurring themes in his photographic situation which frequently comes out when works reflect his love and admiration for approaching the topic of the Cuban culture. nature. He is one of the few adventurers who have crisscrossed the entire African Continent alone and on a motorcycle.

Christophe Bouffil’s work is entirely photographic. Having his camera always at hand and ready explains how he has been able to capture the extraordinary pictures that compose his work. It gathers extensive series as he shoots tirelessly, revealing his evident passion for travelling, exploring and getting to know the cultures he had the chance to encounter in many corners of the world wherever he could go.

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

Serie Mudanzas, nacimiento, 2000 Series Free in Cuba, 2008-2010

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

Series Free in Cuba, 2008-2010

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

Series Free in Cuba, 2008-2010

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

Series On the Road, Santa Laura, Chile, 2008 55

CHRISTOPHE BOUFFIL

Serie Desmedida, sala de jantar, 2009

Series On the Road, Costa Chica, Guerrero, Mexico /MĂŠxico/ Mexique (2010)

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CHRISTOPHE BOUFFIL

Series On the Road,La Fé, Cuba, 2010

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CHRISTOPHE BOUFFIL

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CHRISTOPHE BOUFFIL

Series Free in Cuba, 2008-2010

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CHRISTOPHE BOUFFIL

Series On the Road,Costa Chica, Guerrero, México, 2010

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CHRISTOPHE BOUFFIL

www.livingartroom.com/christophe_bouffil

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Blue Piano, 2005

MAR Y SOL RANGEL

MAR Y SOL RANGEL Self-portrait

In her work, is also very important the sense of self-portrait. Although in her work often “others” appear, it ends up as a reference to herself, a reflection on how she ends up looking like each of the people portrayed and vice versa. Another aspect to note about this artist is that although each painting is a separate part, the ratio of those with space and all the surroundings is a constant concern in her exhibition projects. It is important for her to always read her work, not as separate pieces, but as a great installation together.

The work of Mar y Sol is essentially pictorial. With an impeccable technique, shows us in her very extensive series, portraits and close ups from people close to her. Although their images are somewhat figurative, her interest lies not in representation, but in the power of the image as such; the selection process that the mind makes in order to retain or be attracted by it. Many of the images that compose her paintings are born from a personal interest in pictures that she selects and collects; images that she is particularly attracted to. Beyond trying to figure out the reason for this charm, she tries to convey through the frames and technique, “it” that led her to paint it.

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MAR Y SOL RANGEL

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MAR Y SOL RANGEL

Series Autorretrato, 2009 65

MAR Y SOL RANGEL

Serie Autorretrato, 2008 66

MAR Y SOL RANGEL

Series Autorretrato, 2010

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MAR Y SOL RANGEL

Series Autorretrato, 2009

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MAR Y SOL RANGEL

www.livingartroom.com/marysol_rangel

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PABLO COTAMA

Citric cherry fruit fly, 2006 70

PABLO COTAMA

PABLO COTAMA Painting overwhelmed

Pablo Cotama’s work, focuses mainly on painting and his creative process is strongly supported by a thorough knowledge of the technique. Far from being a purist painter, Cotama uses textures and three-dimensional elements resembling melted gum in his paintings. He managed to get this impression by using neon colors made with plastic materials, away from the traditional idea of pigment on canvas. In his images, some elements are persistent, such as children’s action toys, Chihuahua dogs, cartoons comics, among others. Most of his compositions take refuge in a pop aesthetic, referring to fashion toys or advertisement.

Most of his work is in large format in which the use of textures and mastery of technique has increased to such an extent that, beyond bumps, his painting becomes a three-dimensional experience. Cotama takes this feature to the extreme. His

painting extends the limits of the frame and flooded with forms of the space is exhibit.

In addition, Pablo adds objects and shapes that emerge from the format and become more like an sculpture. Banana Momentum, 2010, is a clear example of this, the artist uses innovative techniques, which no longer need the frame, and the piece becomes a kind of explosion of images that runs through a flat vertical surface (wall) and goes on the floor, from which emerges a cluster of three-dimensional objects.

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PABLO COTAMA

Etéreo botarga, 2009 72

PABLO COTAMA

De las cuatro nobles verdades chihuahue単o, 2007

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PABLO COTAMA

Guitarrista, 2007

The joy of the painting muerta, 2008 74

PABLO COTAMA

Ecce homo rock and roll, 2008 75

Del hombre que siempre canta su canci贸n , you can麓t always get what you want, 2010

PABLO COTAMA

Un solo tiro, 2010 78

PABLO COTAMA

www.livingartroom.com/pablo_cotama

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fotografías de Floria González pintura de Carlos Pérez Bucio

ISAK KANAREK

COLLECTOR

Interview with the architect Isak Kanarek

Since when did you start collecting art? perhaps more than 15.000, including more than 3.000 carnival danced masks.

Popular, contemporary, modern ... ¿Y cómo es tu relación con tus piezas? Lo pregunto porque en tu casa vives rodeado por ellas, ¿Me gustaría saber si te relacionas más con lo que representa cada una o con el objeto en sí?

Since I was a child, I remember when I was eight years old, I used to go to the boardwalk on Sundays (I am from Veracruz) to purchase folk art. From these bugs with precious stones glued on them, like living jewels called “mackech”, ashtrays with scorpions, you know.

Como decía Nietszche: “ la vida sin arte sería un error”, yo considero que estos me How many pieces have you acquired? Do estructuran el día, estos como entes. you have them listed?

And how is your relationship with your I think this is an eternal process, but pieces? I ask this because I can see you live 83

ISAK KANAREK

surrounded by them; I would like to know if I don´t think this collection thread is you more related with what each one highly structured because I get what I like the most, sometimes not only what I can, represent than with the object itself? perhaps.

As Nietzsche said: “Life without art would be a mistake,” I think these objects, these In your collection, which pieces would you consider outstanding, which of them are almost entities, makeup my day. your favourite ones?

I find your collection very interesting because I think that it has a defined line; I I think Emilio’s monkey is hilarious; a say this because of the pieces that I know centurion who is a mask that there are only you have acquired. Was this selection five in the world ... My point is that in something that slowly emerged, or popular art, there could be a worthless piece but also interests me. I don´t know, It’s hard something very clear from the start?

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to explain… Alejandro Colunga is one of my favorite artists.

Do you have in your house, a wall or a space in which you place what you like best? or do you simply spread all of your pieces all over your house?

The hall that leads to my bedroom it’s one of them; the wall in the room where I have the Cora is one that I enjoy very much. I also like my room wall where I hanged the painting of this Colombian artist, Leonel Gongora.

Have you been able to identify that little something that makes “Yes!, This is the one” or is it always something different?

Emilio Rangel

Speaking of masks, if it was danced and is an old sample would be the common In your art collection, which is the artist denominator, but I love colonial objects, that you have more pieces of? this part of the history of this piece of Latinamerica.

Alejandro Colunga or Pedro Firedeberg, are artists who reinvented me and with whom I What about contemporary art? reconcile over and over again.

They caught me differently; I think that Do you know Pedro personally? with all these new ideas, that freshness, that easygoing kind of thinking and all that Yes sure, he is an architect like me. Do you is part of a ritual, of a process that is what like it? makes it fun to me.

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ISAK KANAREK

Yes, I love it. Has this particular essence… the same that I like form Javier Gutierrez or Carlos Perez’s work; they are not afraid to do something different.

Isak, another thing that surprised me about your collection is that you don´t collect the artist who are exhibiting at the museum or a gallery, you guide yourself very much for recommendation, those provided form the same artists that you like. Where did you

Yes, it’s audacious, fun.

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ISAK KANAREK

get this strategy from? Was it something How is your relationship with the instinctive, a kind of a lesson you have galleries? Do you visit them frequently, learned over the time? or do you only guide from what you perceive or what you can see? Let’s say, trough I think about architecture, architects know Internet best. And artists, without doubt, are the ones who know more about art. They help me to Yes, actually. I use all the media, but it’s a agree, they help me get closer to the object, fact that I am interested into knowing the they invite me to meditate about several person that invents something which calls ways of art that exist and are worth it. art.

I enjoy litigating on issues they care concerning to art. Being an architect is Had you ever consider a curatorial team or not far from being an artist and I think the consultants for the purchase your pieces? controversy between us is reconstructive.

Never. I know them and they are my friends And now, talking about direct conversation with artists, which obviously repre- What do you think of collections that are so sent an advantage - because it leads you big that it requires a whole system? to find great artists who are not necessarily part of the mainstream- , but at some Well, I think the collector can easily forget point, have you meet someone who muddles to what he bought. I think it is immportant with the prices, raising and lowering them to commit. However, I have no doubt that affecting the potential investment of the objects have their own will, I think piece? objects choose to be with you, rather than you choose to be with them. I’ll tell you I don´t have curators behind my decisions, a story: talking about Fernando Botero, a I have made many mistakes, but I think it’s friend saved and saved for the moment that “part of the life”, but I repeat, I purchase Botero came to this country and had his what I like and remain quite apart from exhibition at the Tamayo Museum. The what would be proper or inappropriate artists didn’t come, I don´t know why. Days investment before Beraja -Misrachi Gallery owner- had 87

ISAK KANAREK

Javier Gutiérrez

And do you prefer a contemporary art fair or biennial?

invited her to see a collection of nine pieces of Pedro Coronel, and I told my friend, I don´t want Pedro Coronel, I want Fernando Botero. Curiously, my friend left two of those Pedro Cornoel pieces separate in her mind, and all of the rest sold out, but not the ones she wanted. Botero didn´t come, and she doesn’t own a Botero but two Pedro Coronel pieces. Funny isn’t it?, it’s like when you have a 10-year-girlfriend of and you marry the one that you know from only two weeks.

I don´t understand what is the difference.

The difference is that a contemporary art fair is all about business, there are so many pieces in all the booths that you hardly know what is what. Biennials also have a significant power on the market, but the purpose is more curatorial, and its importance lies in endorsing proposals and artists around the international art scene.

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Iván Villaseñor

Although it’s so primitive and elegant, I feel loves it ... just imagine what it feels. like the biennial and the art fair is the same thing, It’s just that in one you get things in Would you like to exhibit your entire a fancier way collection in a museum or a gallery? Or would you miss a lot your pieces and you From the times you have borrowed pieces won’t lend them all at the same time? for exhibitions, is there anyone that you remember the most?

They say that without people, glory is not glory. Yes I would, yes I would love to and You are falling again into a gray area I would like it before I die of course because it has a lot to do with the feeling.

We constantly hear about stories in which What other collections, from your friends it’s no something pricy but its emotional or people you know, do you admire or even value is huge, and if someone else also have catch your attention?

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featured their portfolio update in this LARmagazine issue, Could you say what do you like the best of each one of them?

Without a doubt Ruth Lechuga’s collection and which is now part of the Franz Mayer collection, it is enviable because of the quality and quantity. This way to select what she took to the Franz Mayer, a museum of such a level, with this huge historical background, accompanied with a photo or a book, it’s definitely enviable. I could mention in popular art, Candida Fernandez form Banamex or Teresa de Pomar, Pilar Fosado as well, even the recently deceased Monsivais . It makes me wonder, this topic is kind of a contrast; I envy things that what they have, but I am sure the envy a lot of what I do.

I think the technique they have undoubtedly. All this freshness for speaking their own language, the way that they consider themselves artists, taking a chance, feeling all this excitement of not knowing what will happen to them or even with me.

In particular, Perez Bucio is a great drawer, certainly not better than Ivan Villaseñor, but with a different kind of irony. Emilio surely has an undeniable sculptural character and Javier Gutierrez, who I adopted as an Argentinan and who is making a career in Mexico as many other great ones in history, I think is very elegant and has his own thing too.

Speaking of Carlos Bucio Perez, Ivan Villasenor, Javier Gutierrez and Emilio Rangel, the four artists who are part of your collection and that coincidentally we

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exist, and some of them will probably be overcome but what is good it will always be good.

From your point of view what are the mistakes you can make as a collector?

My friend Margarita Orellana from Artes de Mexico says: it has to be very clear about the thread behavior. May not follow a line, but you never expect to see an art collection Ficha a classified art, classified as life, is a way to Speaking of your role as a collector, do you defend themselves. feel that you have any kind of responsibility in the art scene?

A mistake would be to buy what you don’t like but its “convenient”. For example, I Without doubt, what happens is that this don´t know if the commercial range, role is not a leading part; I humbly believe having an artist in different ways and that your work as a collector is to acquire phases is very convenient, but I think there what you can perfectly acquire. are artists stages that I wouldn’t collect, even if I really like the artist in general.

But in the sense of promoting artists, you for example, that have good taste and don´t What advice would you give to new follow what galleries, museums or collectors, or people who just start having magazines say. Once you collect, do you fun collecting art? feel the responsibility to help the artists and promote them?

I think they have to learn to live with what you they choose to live with; and I think My answer to that and unequivocally that it’s very important if you live in Mexico good things don’t have age, what is good consume Mexican art. Because I think that has always been good. Trends will always I could have collected African masks that I 93

ISAK KANAREK

respect very much, although the Mexican isn’t that much. I don´t feel the same folklore is something that I identify a lot excitement for a Norwegian success, rather with. With all this passion, is easier to than a success of a Mexican. acquire what you have closer that what it

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ARTIST PORTFOLIO UPDATE

ARTIST PORTFOLIO UPDATE

Carlos Pérez Bucio (Mexico) (Argentina) Javier Gutiérrez Iván Villaseñor (Mexico) (Mexico) Emilio Rangel Juan Antonio Sánchez Rull (Mexico)

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CARLOS PÉREZ BUCIO

Tits, 2009 96

CARLOS PÉREZ BUCIO

CARLOS PÉREZ BUCIO

Through my work I tend to celebrate human nature at its best, and sometimes at its worst. I’m constantly messing with sex, politics and religion: all these allow me to make fun of this ugly world I’m living in, and that includes contemporary art, which is completely dominated by political correctness and false solemnity. I choose not to contribute to this elitist art scene policy and rather show what is so often overlooked: the true values of some mistakenly belittled arts, like comics and press cartoons (especially Mexican and French 19th century caricatures). I adopted satirical drawing as an ideal way of depicting my very own beloved and hated issues alike. The most difficult part of it all is to avoid commonplaces and at the same time produce high-level images that go straight to the viewer without being blatantly obvious. I’m very respectful of symbols and traditional iconography. However, my painting process will always remain fun: there’s nothing I cherish more than exaggeration and monstrosity.

Dictatorships and corrupt political systems share these common traits: appropriation, intervention, decontextualization, parasitism (proliferation of bureaucrats and opportunists with no real social value). All these practices are also very common when it comes to contemporary art and thus I think dictators and artists behave in similar ways. I lived for almost six years in France and I’m not afraid to say that I wholeheartedly empathized with French far-right political parties whenever they fought for their right to speak freely. No matter how unpleasant some statements may be, I think that freedom of speech has to have no limits. Some far-right movements may speak loudly, somewhat offensively, but they represent what many people think in private but dare not admit publicly due to its political incorrectness. I hence state that my art has some far-right features: unpleasant, even grotesque, but never compliant.

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Rat, 2009 98

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Teen, 2009 99

CARLOS PÉREZ BUCIO

Niña buena, 2010 100

CARLOS PÉREZ BUCIO

Virilidad, 2009 101

CARLOS PÉREZ BUCIO

King of Fashion, 2009 102

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Hombre casadero, 2010 103

CARLOS PÉREZ BUCIO

Piercings for idiots, 2009

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www.livingartroom.com/carlos_perezbucio

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JAVIER GUTIÉRREZ

Coral, 2010

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JAVIER GUTIÉRREZ

JAVIER GUTIÉRREZ

Javier Gutiérrez was born in Cordova, Argentina, lives and is works at Mexico City. His is mainly pictorial, though in occasions he realizes some installations and objects. His aesthetics are tied to the cartoon and illustration in a very personal way. The artist approaches his work from a both eclectic and ironic vision, generating in occasions grotesque and absurd scenes.

For example in some of his paintings there can be seen animals (bears, rabbits, deer, etc) represented as illustrations form a

bedtime stories ¬ - tender little animals from the forest ¬ attacking human beings, like would happen in real life. His images are usually strong and violent. The artist handles the composition very well and defends his aesthetics in such a way that, now at days, is considered as a prominent artist, recognized for curators who have seen his work.

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Pandemia, 2009

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JAVIER GUTIร RREZ

Todo se estรก calentando, 2010

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Epidemia, 2009

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Plantas de poder, 2008 112

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Recursos naturales, 2009

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Kung fu, 2010

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Hociquito de ratón II, 2009

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JAVIER GUTIÉRREZ

Retrato de familia, 2009

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JAVIER GUTIÉRREZ

www.livingartroom.com/javier_gutierrez

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IVÁN VILLASEÑOR

China girl, 2010 118

IVÁN VILLASEÑOR

IVÁN VILLASEÑOR

Iván Villaseñor’s work is entirely graphical and his technical knowledge is truly impressive and strict; something that sometimes is missing in contemporary painting. For his drawings Iván prepares the support with Crete and a half Crete, a technique that was used for some centuries ago and consists of using rabbit’s tails as cementing agent in order that the colors last for hundreds of years. His images

remind compositions of renaissance paintings and are full of eroticism and fantasy. His characters rely on exaggerated and very thin features at the same time, for moments close to hyperrealism. In general, they are placed in the middle of magic landscapes full of exuberant plants and giant fungi.

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Gothic girl, 2010 121

IVÁN VILLASEÑOR

Girl, 2010 122

IVÁN VILLASEÑOR

China girl, 2010 123

el advenimiento de la glaseaci贸n, 2010

Plegarias para un cazador, 2010

IVÁN VILLASEÑOR

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IVÁN VILLASEÑOR

Bosque azul, 2009

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IVÁN VILLASEÑOR

Depredator girl, 2010 130

IVÁN VILLASEÑOR

www.livingartroom.com/ivan_villasenor

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EMILIO RANGEL

Tinkerbell, 2010 Hombres contemplando, 2006 96

EMILIO RANGEL

EMILIO RANGEL

Emilio Rangel is an artist that stands out for having an enviable technical ability. Most of his work is three dimensional, which highlights the series of bodybuilders monkeys and Victoria’s Secret female monkey models. The first Emilio’s work we knew was “Ravamoso family tree,” a series of small format sculptures of various cartoon characters derived from the actual shapes of animals like flies, bear, cow and human being, ending in a character named Ravamoso. His work is closely related to the caricature of the man reflected in animals and with dark humor

he criticize certain aspects of general human behavior.

Nowadays It has now brought that humor, sarcasm and irony to the extreme to make series where some of the Disney characters are killed in humane conditions, far from their fantastic residencies. For example, we see Tinkerbell suffocating inside a crystal, or that poor Sebastian (friend of the Little Mermaid) boring, contained in a fishbowl, waiting for what will be a certain death in the middle of a pot of boiling water.

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Árbol genalógico del Ravamoso, 2008

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Bella y bestia, 2010 136

EMILIO RANGEL

Sebastian, 2009 137

EMILIO RANGEL

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Marmotas oficinistas, 2010

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Series cristos, 2010 140

EMILIO RANGEL

www.livingartroom.com/emilio_rangel

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JUAN ANTONIO SÁNCHEZ RULL

Series Las Vegas, 2010 142

JUAN ANTONIO SÁNCHEZ RULL

JUAN ANTONIO SÁNCHEZ RULL Juan Antonio Sanchez Rull’s photographs surprise for their perfect settings, atypical perspectives, and their great light and textures. Any technical aspect or composition of his series always answer to a very clear intention of evidence a very meticulous process in which he can last a very long season doing it in order to accomplish each project. As for example the decision to only use black and white film, or showing everything form a perspective above. With his series “the beach “, he last 14 years; form1995 to 2009, he compiles images of people enjoying the sun and the sea. The quality of this work evokes a kind of timelessness that results impossible to determinate if the images were taken recently or decades ago. Most of his images seem to annul the presence of the photographer, as if the characters had never noticed of being caught by the camera. This attribute allows Sanchez Rull

to be positioned as an omniscient presence, as if he was coming out in photographs from the distant or as if he had slipped through in an invisible way.With incisive look he shows an almost scientific curiosity, willing to clarify the mysteries of different contexts; it is the case, for example, of his series of monkeys in the zoo, which displays to us scenes of different species of apes in their fake-natural context. Likewise his series “Vulnerable sniper” shows us the urban territory and the traffic of people in modern cities. In most cases a professionalization of the voyeurism is demonstrated in every sense, getting an obsessively perfection in each and every aspect.

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Series: Las Vegas, 2010

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JUAN ANTONIO SÁNCHEZ RULL

Series: Las Vegas, 2010

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Series: Las Vegas, 2010

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JUAN ANTONIO SÁNCHEZ RULL

Series: Las Vegas, 2010

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Series: Las Vegas, 2010

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www.livingartroom.com/juanantonio_sanchezrull

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PROYECT JAPAN

Regla de Tres, galerĂ­a nueveochenta, 2009 154

PROYECT JAPAN

PROYECT JAPAN

by Adriana Restrepo

The Japanese Miho Hagino and Taro Zorilla has been devoted to find and collect lessons and memories of Japanese migrants in Mexico. Their work consists of a photographic series and videos that can be seen at the end of this year at The Chopo Museum, Mexico City.Â

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“When you can understand who you are, many good things start to happen”

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“On August 9, 1945, the history of Nagasaki should be different, but had very bad luck instead. The plane that carried the atomic bomb (Little Boy) ran out of gas and unable to reach their final destination, was released at the edge of this city. The heat reached 6,000 centigrade degrees and all I remember was hearing a horrible sound and I saw a light strong as thousand lightings at a time. That morning I did not go hunting dragonflies to the mountains with my friends and maybe that saved me. When the bomb crashed, my mother managed to cover me with her body and as soon as we could, we start running with my sister to the community refugee center. For many nights, we saw the city in flames and people suffering and dying, as many of my friends. But what I saw next was even worse. In Nagasaki, we did not have food and we were starving, so my mom took us to the countryside. There was hell itself, I cannot describe the nightmare and the terrible things that had happened. “

of never marry or have children who could inherit the misfortune of radiation and with the slogan of living by the precepts of his culture, though immersed in a country of different traditions; most of the times, completely opposite.

“We must work and be honest, to serve our own country and the others.”

Like him, 111 first, second, third and fourth Japanese generations immigrants are part of Project Japan, a social and artistic endeavor undertaken by Miho Hagino (artist) and Taro Zorrilla (architect) since 2008, that has no other intention but collect the memories, feelings and experiences of those who left Japan in search of a better life, when at home the conditions were not encouraging, or those who born here and have heard for years the stories of their ancestors and have idealized the distant but personal world at the same time

“Honesty is the best proof of love and a This, despite its nature, is not the end but great satisfaction we can give to our the beginning of a story. Yasuaki parents: be honest with them and with Yamashita, Japanese ceramic artist and everyone.” painting, came to Mexico after the atomic bomb explosion and the destruction of Miho was born in Japan and came to Hiroshima and Nagasaki, with the promise Mexico for the first time in the year 157

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1994. Since then, she was captivated with the people, the colors and flavors of this exotic land of which she knew nothing about. Two years later she returned and enrolled in art school. And for a while, she was going back and forth from Mexico to her country, comparing, investigating, discovering and creating.

interest about migration. He also had worked with Mexicans in the United States. Then he decided - as his running mate- to join and start traveling across Mexico to regain their people. They arrived in Chiapas, Guadalajara, Veracruz and many other places, where their modus operandi was to get off the bus, take the city white-pages and look for Japanese names. So, there the In 2005, while producing a renowned collection of memories and stories began. pianist concert, she met Taro Zorrilla, who was born in Mexico half Japanese from his “For us to be helpful in this country, we mother-side and raised with a very strict must work hard, as our father taught us.”

Japanese education, shared with Miho the

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These men and women, nearly all with asian traits and undoubtedly Mexican accent, have learned to live according to the Japanese philosophy, which is much stronger here, this side of the world, than in Japan, where modernity –as in any other country- has inevitably changed principles and found new values. “These people have grown up under a strict education, believing in honor, respect for elders, hard work, timeliness, honesty, and family union; and maybe, sometimes these unwavering values collide with the informal Mexican idiosyncrasies” says Miho.

However, the interesting part is that mix, which has born a little bit forced, is to see how these two dissimilar cultures have learned to coexist and live in harmony. Some migrants only dream of returning to that honest and gentle home, spoken by their parents and grandparents.

But many others, however, discovered in Mexico a cheerful,

enthusiastic and friendly culture, in which they have managed to develop a peaceful life. As Yamashita himself -after having experienced the worst catastrophe-,others Japanese found here an ideal place to move forward and rebuild their lives; of course, without hatred or resentment, as their parents taught them to.

“My father said: ‘The only thing I can inherit to you is good manners, to be good and honest people, and you also pass it on’.”

In this investigative and detectivish work , a series of photographs (black and white portraits) and videos was born; where these people remember or imagine the wonderful life of Japan. The artists decided not to include the names of those who gave their testimony or age or profession ... just memories. For this effort could work as a collective memory of a group. “We do not seek to present this series in a gallery, but

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in a public place, where unexpected people find it almost by accident with our work and therefore, do not feel the urge to think nothing in front of what it is seen”, says Taro.

“We should try to do everything better and be better people”

America). In December, the exhibition will be presented at the Museum EL Chopo in Mexico City and soon Taro and Miho will be launching a book, which includes the 111 pictures and the greatest quotes from the interviews.

The exhibition has been shown in Leon, Guadalajara and twice in the Mexico City, one time at the international airport. It is been planned to bring it to the Museum of Japanese migrants in Los Angeles and the Museum of Information and History of Japanese-Brazilian Migrants in Japan (in the old building where Japanese were preparing to start no return trips to

www.livingartroom.com/miho_hagino www.haginomiho.blogspot.com/2009/05/proyecto-japon.html

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ART AND NEW WAYS OF EXHIBIT

by Semíramis González

Bordo Póniente, fotografías cortesía RESIUDAL

ART AND NEW WAYS OF EXHIBIT

Exhibit Art: a little of history Traditionally and throughout history we have seen an evolution in the ways and places where artists show their work. In ancient Greece the agora was the place designated for displaying the sculptures with a civic purpose, in the Middle Ages and the birth of Christianity, the church was the place responsible for hosting many of the artistic creations, later during the Renaissance, patrons who commission works used to exhibit them at their houses; and during the Baroque, art returned to be civic and public once again, besides religious and private art that will continue their growth. Recently, and already in the eighteenth century, Academies were born and the Official Halls, where only those works accepted that fit, thus who followed the rules laid down by these academies, were called “academic”.

official groundbreaking and less classical proposals were not accepted. This is an option where artists, writers, philosophers get united... to carry out a different way to present art without going through the official rules.

However, as in the nineteenth century, interesting changes can be an important background to the topic we are approaching: to rejection suffered by many artists (Monet and Manet among others), motivates them to create the Salon des Refusés (Hall of the Rejected) An alternative to these halls where certain

At last, after all, isn’t it too static to think that only a museum or gallery are the only ones exhibiting art in a cosmopolitan world? such as the one we are living it.

Evolution has been constant, from those proposals that sought to show their art without following academic guidelines; even today, at the XXI century, the so-called technological age, changes could not be more present: in addition to new ways of communication such as Internet, can overcome geographical and time barriers, the artists have turn to many ways in which they have been able to display their works and gain a name inside the artistic spectrum today.

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New ways to showing art Recently, since the widespread use of the Internet have proliferated many new ways in which an artists can present their work, virtual galleries, websites, forums ... but does it mean that we are at the end of the physical gallery or museum? No, In my opinion.

The interesting thing about this century and all the technological advances brought out is that anyone can keep creating new ways to display art without necessarily implying a death of the galleries and physical space. And this article is about that: what’s new on the way to exhibiting art, both physically and virtually.

to get people to know their work and create new ways of approaching the public. It is precisely this, the public, another important factor in understanding the new ways of showing art, since it is an informed and knowledgeable audience of new artistic creations; these viewers can access by clicking to the entire path of professional artists or read criticism of their work, or even interviews. Does anyone imagine that happening in the Middle Ages or the Renaissance? This closeness to the artists -which is not necessarily physical-, gives the viewer a powerful tool to be aware of what is going on and be more critical about it.

Above all, it is important to remember that Internet will serve as an informative tool even for the galleries and spaces, and thanks to this display people can know what is being shown right now in another part of the world, including access to photos, videos and some cases, 3D views.

Therefore, this article seeks to summarize and bring the reader some of the most interesting proposals that are currently running, some other globally and locally, but in any case, are serving as new ways to promote artists from a perspective outside the major museums and galleries.

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ARTIST RUN SPACES This is an interesting proposal that seeks to arrange and display works by artists outside the orders of the private or public galleries. Such spaces are managed by artists; serve to bring together the various authors, to promote themselves by mutual cooperation.

Originally was born in Glasgow in the 90’s but soon will witness a phenomenal growth, this type of spaces are now instituted in cities such as London, Australia, Berlin, Edinburgh and parts of the United States, including New York and San Francisco, among others.

In many cases, ARS subsist thanks to artistic creation scholarships and grants, enabling them to work and exhibit as well as to be in contact with others.

UNION OF ASSOCIATIONS OF VISUAL ARTISTS www.uaav.org The UAAV is a Spanish organization that coordinates seven existing associations of artists in various communities inside the Peninsula, such as Asturias, Castilla-León, Madrid, and Galicia.

Created in 1996, has had several presidents and its current ones are Francesca Llopis and Luis Gordillo as the honorary president in charge of its direction.

connect a range of artists for common purposes.

They are mainly interested in aware institutions and authorities, inviting them to create and collaborate in support of development and promoting art programs. We can say that UAAV is trying to bring value to the artist, thus improving their professional and public recognition, creating effective contact between society, institutions and artists.

LA RESIDENCIA www.laresidencia.org This project struck me during the writing this article. La Residencia is situated in an old family mansion from the 1930’s, it has grown from housing to school, from school to an orphanage, and now, since 2003, the venue is where can find this particular gallery.

With the main porpoise of giving artists some space, let them to know other places where they can create and also bringing artists from different nationalities together, La Residencia arise, located in Bogotá, Colombia.

Its aim drink from two sources: first, give the artist the possibility to know the city and work there, and the other, approach these creations to the public in Bogota. Depending on the work that the artist does, stays can be from 15 days up to 2 Its main objective is to coordinate several months, here there are endless possibilities: associations and try to involve communities that Photographers, musicians, artists, anyone who do not have any. Also try to raise the image of the develops a creative process. artist, encouraging economic and cultural improvement for creators, also trying to unite and In addition, La Residencia has its own space for exhibitions, concerts and offers the public 165

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anything related to cultural activities, also has a bookstore, record store, cafe, shops, etcetera.

In my opinion is one of the most interesting alternatives for any artist, LA Residencia brings the artists the opportunity to work in a multidisciplinary way, get in contact with others.

It is also a good way to approach contemporary art to Bogota’s public; proposals being created today and brings all parties (viewers and creators) in a space with all the facilities.

Adrián Tomás Román Contreras.

This project was not only a landmark for being original and innovating, but also resulted as an interesting beginning for the culture in Ciudad Juarez. Since its inception, the city witnessed strong growth in artistic matters: new projects appeared, new galleries emerge, exhibitions were opened, etcetera.

However, the project is no longer operational.

Participants and members complain that it has lost that appeal and many artists form the border do not LA CASA DE LAS NOVIAS care about artistic issues around the city; in many This interesting project was born in 2005 in cases, they are only interested in citizens’ Ciudad Juárez led by Perla Montelongo, currently problems without really understanding the full coordinator of the online study center Visions of potential that the city and its artists host.

Art, along with a group of students from the Bachelor of Visual Arts at the Universidad E-V-A-N Autónoma de Ciudad Juárez. www.e-v-a-n.org It was focus on giving young artists the As previously seen in other organizations, EVAN opportunity to have an exhibition space that allows (European Visual Artists Network) functions as a them to be released, and inform the public of these coordinator of other institutions and associations new creations. ready to influence the policies of the European The project was opened for two years, first Union representing and promoting artists. Their financially supported by the Department of Art goal is to engender an institutional interest in favor of the Universidad Autónoma de Ciudad Juárez of the artists’ development in Europe.

(UACJ) and then by a grant from the Chihuahua Its work focuses on Europe, allowing Institute of Culture. organizations that represent visual artists to join; Throughout this time, 24 exhibitions were shown as long as their objectives concord with EVAN’s with the participation of Mexican artists, as well as and must have been created democratically and from other international universities like the have legal statutes. Bottom line, this is an University of the Americas and the University of international coordinator but works within Europe.

Texas at El Paso. Some members were Erick It tries to reconcile government policies from Nungaray, Alejandro Chairez, Luis Rios, Diana different EU countries with different cultural and Gines, Henry Valdez, Jonathan Ramos, Miguel artistic activities offered by the members of this Pérez, Guillermo Sarandingua, Onir Roo, organization.actividades culturales y artísticas.

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PECHA KUCHA www.pecha-kucha.org Pecha Kucha’s approach is innovative, effective at the same time: it is a quick, practical and direct exhibition format.

Its name comes from the Japanese term that mimics the sounds of a conversation (chit-chat).

Pecha Kucha was born in Tokyo in 2003, with the help of Astrid Klein and Mark Dytham, to show the new proposals by young designers and since its growth it has been unstoppable.

The 20x20 format is based on: avoiding the fatigue that large project presentations involve, Pecha Kucha allows each participant to show 20 slides in 20 seconds; a total of 6 minutes and 40 seconds, thus enabling the public to remain watchful and the artist or designer to describe a concise and interesting project.

Normally, in every celebration of Pecha Kucha between 9 and 14 performances are presented and is always a break between each.

Pecha Kucha was originally created with the intention to present proposals for artists, photographers, designers, architects and other professions related to the art world, but now it has even reached the business world, being used in marketing.

Besides supposing a challenge to showcase new projects that want to expose quickly and effectively, Pecha Kucha let artists and participants to know each other at the end of every presentation.

The success of this initiative is not remain just in Japan: from its conception, people has witnessed a relentless growth, Pecha Kucha presentations carried out in many countries, including Spain,

USA, Britain, Denmark, Ireland, Argentina, Mexico, among others.

The truth is that this is an interesting proposal that allows knowing quickly the work of a group of artists, gives us also the opportunity to deepen that knowledge in case we find it interesting during those 6 minutes and 40 seconds of submission. Compared with the traditional ways of presenting works, which sometimes are more than tedious, uninteresting or too long; here the premise is concise work and good summary, which allows the public that seems interested go beyond that presentation.

OBJECT NOT FOUND www.objectnotfound.org This project comes also promoted by artists looking to create a community and contact between emerging artists and galleries, critics, curators, etcetera.

Since its inception a continual growth has been seen thanks to the good reception by the public and this has led to the creation of new ideas, such as the residency program. ONF is a very captivating initiative because it covers from artists to musicians, designers, fashion etc. thus proposing interdisciplinary interesting game that allows contact of different art forms for mutual growth.

You can read more about this project following this link where you can find an interview with Ruben Gutierrez, ONF founder: http://livingartroom.wordpress.com

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PROYECTO LARdocs

As everything we do inside Living Art Room, our new project called LARdocs, was created in order to promote better the work of contemporary artists.

We want to provide you an audiovisual material that contains clear and simple information about the artist, a taped conversation inside their studios, where they explain all the details surrounding their creative process, artistic influences, techniques they use, and the context in which they develop their work . These talks are always made in a very relaxed mood which makes it easier to understand their proposals.

better the artists’ work who participate on our website.

An important aspect of this initiative is that the artists -which are part of Living Art Room- get involved within the process, they produce and direct each other’s documentaries, so this way we promote and reinforces the teamwork spirit, main aspects inside Living Art Room. This first time Alfadir Luna lent his camera and Jorge Carrera his time and equipment for editing, and we are proud to present Omar Rosales’s work, we recorded his interview one day before he departed for 5 years There are tons of opportunities that artists have to to Hiroshima to make a Phd in resin and silicone meet curators, collectors, gallery owners and sculpture, a grant given by the government of Jacritics, in forums such as contemporary art fairs or pan. biennials. However, there are very few instances in which the artist has the chance to invite them to their studios, and present everything that is behind Being this one, the first time we present LARdocs, their production and the pieces in live; being those we would like to invite you to send us your comvery important instances for the curator (collector, ments and suggestions. And keep watching our gallery owners, critic or theorist) to understand all channel on Youtube: the elements that make up the artist’s work. http://www.youtube.com/livingartroom For this reason we would like to release periodically these small documentaries that serve as a complementary tool for the artist portfolio, in order to facilitate the viewer’s to comprehend 169

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TOKIO 29 por LAR

TOKYO 29 started from the joint idea of Araceli Cortina (art enthusiast) and Catalina Restrepo (art promoter), about creating a relaxed live space for promoting art, in which young artists have the opportunity to present their work in a wider environment. The objective of this place, located in Colonia Juárez, is to provide fresh exhibitions; away from the solemnity of conventional art venues, encouraging closer interaction between theartist and the spectator. Therefore, TOKIO 29 is not just a gallery dedicated to exhibit group shows, the pro-

posal is also to present “open studios” spaces to enable artists to show their work as if they were at their own studios, where the viewer has the opportunity to appreciate the whole processes involved in the production.

On September 2, TOKIO29 opened with the inaugural exhibition, presenting the work of seven young artists, of which six were Mexican and one from Japan. All of them with very contemporary proposals, within different techniques such as painting, photography and drawing.

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In this case, the artwork selection did not pretend to be curatorial; I was a first welcome exhibition to the public, by artists who will be presenting their work over the year.

the result of her recent residence in Banff, Canada, some of Tania Ximena’s drawings and notebooks by the renowned artist Mauricio Limón. And finally, Jorge Carrera, presented photographic records, videos and pieces from his more recent urban development project called Astromozaic.

The exhibition showed photographic work of Juan Antonio Sanchez Rull, some pictures of the project Visit TOKIO29’s blog: “Fraum Blaum” by Eunice Adorno, pieces from http://tokioveintinueve.wordpress.com/ the series “Dark Snow”, along with a selection of ceramic sculptures by Miho Hagino; paintings and sculptures by Alejandra España - wich they were

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