ARRÓNIZ
Coda: Syllables (sound piece), 2016 Omar Barquet + Francisco Hernรกndez
V
The passion on the wall, the knot to come, the birth. The sunless openings, the illuminated edge and its mourning. The battle between the red and the orange, the fresh wind of the memory of Greece where living is an experiment of atmospheres, of bones, of cuts and sinking.
5th melisma for Gunther Gerzso Francisco Hernรกndez
Contents 5th Melisma for Gunther Gerzso
9
Ghost Variations
15
Syllables
17
Variations of the 5th Melisma
19
Exhibition
21
Works
37
ERO + Barquet
117
Omar Barquet
129
Arrรณniz Arte Contemporรกneo
139
Acknowledgements
141
Credits
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1 / Prelude: The Midnight Sun 1st Fugue: The Flock 2 / Overture: The Song of the Madwoman On the Sea Shore 2nd Fugue: The Groans of White Noise 3 / Interlude: The Lapse of Silence 3rd Fugue: The Shining Sequence 4 / Regression: The Deluge 4th Fugue: The Wreck 5 / Finale: The Flood 5th Fugue: The Broken Poem 6 / Coda: Syllables 6th Fugue: Drop of Sun
15
Syllables is an interdisciplinary exhibition inspired by the 5th melisma for Gunther Gerzso written by Mexican poet Francisco Hernรกndez, incorporated as the 6th movement of the Ghost Variations project. Ghost Variations is a proposal launched in 2012 consisting of six projects mimicking the movements of a symphony, as well as a sequence of experimental collaborations representing fugues. Together, they are an analogy for the different evolutionary phases of a hurricane, emulating their intensity and movement in a spiral arrangement. The project approaches the perception of time and life through the cycles of transformation of the landscape and the chaotic nature of thoughts. It represents a pulse that varies in intensity, changing the state of things with it. This exhibition symbolizes the final stage of the storm, in which objects have been altered, eroded and fractured by the onslaught of the hurricane, poetically expressing the reconfiguration of multiple recovered fragments operating as syllables within a sculptural/linguistic system. This way, multiple permutation processes are unified between language and its representations. Based on this premise, each assemblage and collage was approached as a word or phrase that, when displayed together, form an exhibition derived from the interpretation of the poem.
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I
There the wind finds its source: Greece,
where it can be heard yelling furiously
it has captured no one, and it despises us all.
Its moan is red, almost like that of a stubborn muse
sculpted in the passageway of amnesia.
II
Under the bouquet of love that bloomed in Rome,
a deformed, empty sunrise is born, wry-mouthed like no other.
Orion, still made out of gold, traces the profile of Dido.
And beyond the murmuring flow of oblivion,
pain is a prison to every despicable copyist.
III
Is in fact crafting anagrams on the rings of Rome
or on the gardens of Greece degrading the language?
And the collapsing quivering wall,
should we raise it with red pigeon eyes?
Oh, sea, bunch of berries drowning in its scent.
Variations of the 5th melisma for Gunther Gerzso by Francisco Hernรกndez 19
21
37
38
The passion on the wall / 2016 enameled fragments of a rocking chair and lighting 130 x 165 x 80 cm (51.2 x 65 x 31.5 in)
39
The sunless openings / 2016 frosted wood table and enameled wood splinters 118 x 37 x 70cm (46.4 x 14.5 x 27.5 in)
42
43
46
The illuminated edge / 2016 enameled and drilled wood 183 x 236 x 0.5 cm (72 x 92.9 x 0.2 in)
47
The poet’s tongue (to Ulises Carrión) / 2016 fragment of carved wood, reef fragment and 14 karat gold inlay 3 x 2 x 11 cm (1.2 x 0.8 x 4.3 in)
50
51
52
53
54
The knot to come / 2016 frosted and enameled wood, recovered bamboo fragment and bone with gold leaf 80 x 20 x 15 cm (31.5 x 7.9 x 5.9 in)
55
Memories from Greece / 2016 cut, frosted and enameled wood table, solarized postcard, reef fragments and crystallized salt 38 x 65 x 12 cm (14.9 x 25.6 x 4.7 in)
58
59
Mourning / 2016 collage, mirror splinter and wood frame 40 x 20 x 3 cm (15.7 x 7.9 x 1.2 in) 62
63
64
65
66
The birth / 2016 seashel fragments, oyster, wood, feather, golden pin and enameled wood splinters 77 x 80 x 5 cm (30.3 x 31.5 x 2 in)
67
Licofrรณn / 2014 3 editions + 1 a.p. digital print on intervened paper, nails and enameled wood frame 180 x 138 x 6 cm (70.8 x 54.3 x 2.3 in) 70
71
74
The passageway of amnesia / 2016 enameled wood box, wood splinter, fish bone and 14 karat gold-plated tiepin 75 x 38 x 25 cm (29.5 x 15 x 9.9 in)
75
Pendular / 2015 intervened wood form and mirror, golden pin and waxed thread 52 x 52 x 9 cm (20.5 x 20.5 x 3.5 in) 78
79
82
The fresh wind / 2016 zinc plate, frosted and enameled wood, recovered coconut fragment, wood splinters and glass 45 x 33 x 25 cm (17.7 x 13 x 9.8 in)
83
The grass of Rome / 2016 2 solarized postcards, 2 seashells and enameled wood 93 x 48 x 32 cm (36.6 x 18.9 x 12.6 in) 86
87
90
Drop of Sun (to Octavio Paz) / 2015 intervened mirror, collage and golden pin 42 x 45 cm (16.5 x 17.7 in)
91
Crooked mouth (to Francisco Hernรกndez) / 2016 seashell fragment and enameled wood splinters 12 x 8 x 10 cm (4.7 x 3.1 x 3.9 in) 94
95
98
A cold voice / 2016 intervened mirror, collage on book cover and golden pin 40 x 45 x 2 cm (15.7 x 17.7 in)
99
A misshapen dawn / 2016 canvas courtain, gold thread embroidery and wood holder 300 x 600 cm (118.1 x 236.2 in)
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106
nj (Syllables series) / 2016 mixed media, collage on paper and frosted enameled wood frame 42 x 33 cm (16.5 x 13 in) 107
ni (Syllables series) / 2016 mixed media, collage on paper and frosted enameled wood frame 36 x 28.5 cm (14.2 x 11.2 in) 108
109
110
fe (Syllables series) / 2016 mixed media, collage on paper and frosted enameled wood frame 36 x 28.5 cm (14.2 x 11.2 in) 111
High sun tides / 2016 5 editions + 1 a.p. gauffering on paper (250 g) 82 x 57 cm (32.3 x 22.4 in) 112
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114
Low sun tides / 2016 5 editions + 1 a.p. gauffering on paper (250 g) 82 x 57 cm (32.3 x 22.4 in) 115
117
+
In a way, the erotic experience is a construct that moves from a desire of the flesh to the desire of the material, and then to the accumulation of things: what can be owned; hence, looking for what is alien to the body as an accompaniment for desire is projected on the aura of objects. Sometimes art, sometimes design, sometimes promiscuity between the two to momentarily forget man’s finitude. George Bataille says that man’s eroticism differs from animal sexuality because it introduces an imbalance, and that imbalance threatens life and its true needs. But animals are unaware of this. This sublime problem is exclusive to men. Therefore, eroticism opens a time between times, a time shared between common anxieties, and thus, a human time. Jewelry and sculpture, for example, are an allegory of the erotic evolution of man and its constant desire to possess beauty, to know it, to contain it, always keeping it close, for when we need to stop being the ordinary beings that we are, if only for a moment.
—David Miranda
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Omar Barquet Chetumal, Mexico, 1979
He holds a degree in Fine Arts from the National School of Painting, Sculpture and Printmaking ‘La Esmeralda’ in Mexico City. He’s a co-founder member of the Second Floor art collective alongside José Luis Landet, Agustín González and Moris (Israel Meza Moreno). Barquet has received numerous awards including the Young Artists Fellowship in painting and printmaking from FONCA (Mexico) and the MACG – Bancomer Arte Actual Grant. He’s been part of multiple residency programs at CAPACETE, Rio de Janeiro and Casa Tomada, Sao Paulo, both in Brazil; MAAS, New York; Tupac, Lima, Peru; and recently at, Vestfossen Kunstlaboratorium, Norway. His work has been shown in serveral international institutions including solo shows at the Mandragoras Art Space, New York; El Eco Experimental Museum, Mexico City; Kunsthalle, Sao Paulo; Museum of Contemporary Art, Merida; the Swiss galleries Christinger de Mayo and Von Bartha, among others. He currently lives and works in Mexico City.
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Curriculum
EDUCATION 2006
BA in Fine Arts, ENPEG ‘La Esmeralda’. Mexico City.
SOLO EXHIBITIONS 2016
Past Verbs, Dot Fifty One Gallery. Miami, USA. Drop of Sun, Mexican Embassy. Oslo, Norway. Drop of Sun, Vestfossen Kunstlaboratorium. Oslo, Norway. Syllables, Arróniz Arte Contemporáneo. Mexico City.
2015
Ghost Variations’ 3rd fugue: The shining sequence, Christinger De Mayo Gallery. Zurich, Switzerland.
2014
Ghost Variations’ Interlude: A lapse of silence, 1mes1artista. Mexico City. Ghost Variations’ 4th Fugue: The wreck, TUPAC + ABLI. Lima, Peru. Ghost Variations’ Prelude: The midnight Sun, MACAY (curator: Christian Barragán). Mérida, Mexico. Ghost Variations’ 5th fugue: The broken poem, Mandragoras Art Space. New York, USA.
2013
Ghost Variations’ 1st fugue: The Flock, Kunsthalle (curator: Marina Cohelo). Sao Paulo, Brazil.
2012
Ghost Variations, The symphonic sketch, Arróniz Arte Contemporáneo (curator: Christian Barragan). Mexico City.
2011
Lapses, Boutique Hermés Masaryk (curator: Tobías Ostrander). Mexico City.
2010
Reverb, El Eco Experimental Museum (curator: Tobías Ostrander). Mexico City. Pautas, Dot Fifty One Gallery. Miami, USA.
2008
Estudio, Trolebús Gallery (curator: Ariadna Ramonetti). Mexico City. Suspensión, alineación y balanceo, Arróniz Arte Contemporáneo. Mexico City.
2007
Axis, Laboratorio Dzityá. Yucatan, Mexico.
GROUP EXHIBITIONS 2016
Everyday Alchemy (curator: Andrea Hinteregger De Mayo), Von Bartha Gallery. Basel, Switzerland. A Propósito de BaCO (curator: Christian Barragán), National Print Museum. Mexico City. Everyday Reflections In Abstraction (curators: Cecilia Fajardo-Hill & Greg Attaway), SPACE. Irvine, CA, USA.
2015
}{ { } (a collaboration with Sara Bichão), Diagrama. Mexico City. Amplificar, Document Art Gallery (collaboration with José Luis Landet & Mauro Giaconi). Buenos Aires, Argentina.
2014
Hedera, Design House Mexico / Esrawe Estudio (collaboration with Héctor Esrawe). Mexico City. XVI Rufino Tamayo Painting Biennial, Tamayo Museum. Mexico City. Polvo, MUSAS (curator: Christian Barragán). Hermosillo, Sonora, Mexico. Doppelgänger, Arróniz Arte Contemporáneo. Mexico City. Superficie en tensión, Diagrama (curator: Christian Barragán). Mexico City.
2013
Polvo, Gabinete Audiovisual, Carrillo Gil Art Museum (curator: Christian Barragán). Mexico City. A tiro de fuego, National Print Museum. Mexico City. Emma Thomasteca, Emma Thomas Gallery (curator: Marta Ramos Izquierdo). Sao Paulo, Brazil. Utopías de ilusión, NUBE Gallery. Santa Fe, Bolivia. Estocoma - Historias de Butades. Metropolitan Gallery, UAM (curator: Caroline Montenat). Mexico City. Materia Sensible, Carrillo Gil Art Museum (curator: Caroline Montenat). Mexico City. Ghost Variations’ Overture: The song of the madwoman on the sea shore / Festival de Cultura del Caribe. Quintana Roo, Mexico.
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Rudimentum, Christinger de Mayo Gallery. Zúrich, Switzerland. 2012
XV Rufino Tamayo Painting Biennial, Tamayo Museum. Mexico City. Mitos Oficiales, IAGO Oaxaca (curator: Octavio Avendaño). Oaxaca, Mexico. Colectiva Mexico, Baró Gallery. Sao Paulo, Brazil. Espacios Fragmentados, Arróniz Arte Contemporáneo. Mexico City.
2011
XV Rufino Tamayo Painting Biennial, Contemporary Art Museum of Oaxaca. Oaxaca, Mexico. Re Cover, The Lake House, UNAM. Mexico City. Linea Expandida, FES Acatlán (curator: Christian Barragán). State of Mexico, Mexico. The Armory Show, Arróniz Arte Contemporáneo. New York, USA.
2010
Segundo Gran Salón Contemporáneo, La Trampa (curator: Christian Barragán). Mexico City. Hecho en Casa, Fundación Ex–Molino. Mexico City. Arte Actual, Programa Bancomer, Carrillo Gil Art Museum (curatos: Ruth Estévez & Sarah Demeuse). Mexico City.
2009
Paréntesis - 17 años de trabajo, Contemporary Art Museum of Oaxaca. Oaxaca, Mexico. Bienal de Pintura Gómez Palacio, Centro de las Artes G.P. Durango, Mexico. Trabajo de espacio, Arróniz Arte Contemporáneo. Mexico City.
2008
Páramo 2, Arróniz Arte Contemporáneo. Mexico City.
2007
“33 drawings...emerging artists you should know”, Emporio Peroni. San Juan, Puerto Rico, USA. Cálculo Renal, Tinoco y Palacios Gallery. Oaxaca, Mexico. Páramo - Mauro Giaconi, José Luis Landet y Omar Barquet, Borges Cultural Center. Buenos Aires, Argentina. Cambios de Sitio, The Lake House, UNAM. Mexico City. Ud. Está aquí - Habitantes incómodos, Intervenciones en la Colonia Condesa. Proyecto Rampa / Habitación. Mexico City. Foro del Parque Mexico. Mexico City.
2006
Siete Lugares, Metropolitan Casino. Mexico City. Los otros libros, Casa Vecina. Mexico City. Creación en movimiento - Jóvenes Creadores 04/05, CNA. Mexico City. Ceguera, Colectivo Segundo Piso, Contemporary Art Museum of Oaxaca. Oaxaca, Mexico. Microfest R4WB1T5, Busker Gallery. Chicago, USA.
2005
La Refaccionaria, La Refaccionaria. Mexico City. Creación en movimiento - Jóvenes Creadores 04/05, Casa de Cultura de Morelia. Michoacan, Mexico. Ratonera, San Jerónimo 21 Centro. Mexico City. Killing me softly, Galería Ramis Barquet. New York, USA. Se traspasa, Isabel La Católica 70. Mexico City. Inter-Mex - Gráfica de Peru y Mexico, Drama Arte Contemporáneo. Lima, Peru. Arte e cultura contemporánea na favela do mohino. Sao Paulo, Brazil.
2004
Equilibrios de la mano temblorosa, Art & Idea Gallery. Mexico City. Videofest 2K4, Bienal de cine y video contemporáneo. Tijuana, Ensenada y Mexicali, Baja California, Mexico. Exposición internacional de intercambio Tokio-Mexico, Galería Itabasiku Narimasu. Tokio, Japón. El dibujo es un asunto neurótico, Alianza Franco Mexicana. Oaxaca, Mexico. X años de La Esmeralda en el CENART, Colectivo Segundo Piso, CENART. Mexico City. Festival Universal de Sonido, Imagen y Ondas Nuevas. San Pedro, Costa Rica. Memoria al vacío, Colectivo Segundo Piso, La Esmeralda, ENPEG, CENART. Mexico City.
2003
Phillips Art Expression, X Edición, Image & Sound Museum. Sao Paulo, Brazil. Phillips Art Expression, X Edición, Museum of Modern Art. Mexico City. Memoria Tomada, Centro Cultural Olimpo. Merida, Yucatan, Mexico. Mexico Maratón mexicano de arte en video, Tamayo Museum. Mexico City. 133
GRANTS, AWARDS & RESIDENCIES 2016
Residency, Vestfossen Kunstlaboratorium. Oslo, Norway.
2014
Residency, TUPAC A. C. Lima, Peru.
2014
Residency, MANDRAGORAS ART SPACE. New York, USA.
2013
Residency, CASA TOMADA. Sao Paulo, Brazil.
2009
Residency, CAPACETE. Rio de Janerio, Brazil. Grant, Arte Actual Bancomer, Carrillo Gil Art Museum. Mexico City. Grant, Young Creators 2008 – 09, FONCA. Mexico.
2005
Grant, Young Creators 2004 – 05, FONCA. Mexico.
2003
Second Place, Philips Art Expression X Award, Image & Sound Museum. Sao Paulo, Brazil. First Place, Philips Art Expression X Award, Museum of Modern Art. Mexico City. Grant, Young Creators 2002 – 03, FECAQROO. Mexico.
2002
Honorable mention, Un espacio de 35 mm, Televisa, Centro de la Imagen. Mexico City. Grant, TELMEX Foundation. Mexico City.
PUBLIC COLLECTIONS Contemporary Art Musem of Oaxaca (Contemporary Art Museum of Oaxaca - MACO), Mexico. The Jumex Collection, Mexico. Jorge Pérez Collection, USA. JoAnn Hickey Collection, USA. SPACE Collection, USA. National Print Museum (National Print Museum), Mexico. The Oaxacan Painters Museum (Museo de los Pintores Oaxaqueños - MUPO), Mexico. Sackner Collection, USA.
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ARRÓNIZ Arróniz emerged from a particular interest to work with a new generation of artists from Mexico and Latin America. Our main drive is to support and closely follow the careers of our artists both locally and internationally. A key element to our labor are exchanges with other galleries from other countries and participating in art fairs around the world.
Our local program is composed by exhibitions of our represented artists, and a parallel presentation in the projects room where a specific piece or project –created with the space in mind– is showed. This allows us to expand our cultural offer to new audiences while working in collaboration with other artists, curators and institutions.
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Immense thanks to: Mauro Giaconi, Carmen Gutierrez Carvajal, Alan Valdivia Mondragón, Virginia Colwell, Leticia Arróniz, Gustavo G. Arróniz, Otmar Osante, Valeria Mieres, Luis Nava, Marcelino Pérez, Mariel Barrera Martín, Susana Lucio, Elizabeth Rustrián, Kaylee Gibson, David Miranda, Rosa Arizmendi, Beatriz Paz, Ernesto Alva, Ruben Morales Lara, Fernando Soberanes, Claudia Cortinez, Obrera Centro, Vidrieria Apolo, and specially to Amadeo Azar, JoAnn Hickey and Francisco Hernández.
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Credits
Syllables, an exhibition by Omar Barquet. Main room, Arróniz Arte Contemporáneo, Mexico City. May 11th to July 2nd, 2016.
Poem and variations: Francisco Hernández Syllables introduction: Omar Barquet ERO + Barquet introduction: David Miranda ERO Jewelry: Elizabeth Rustrián Design and photography: Otmar Osante Additional photography: Adrián Villalobos ERO Jewelry photography: Leonardo Manzo Translation: Adriana Sibaja Gallery director: Gustavo G. Arróniz
Separator 1: (l), / 2015 / remains of chair, mirror and digital print. Separator 2: Áurea (Golden) / 2015 / remains of chair, mirror and digital print. Separator 3: Vestigios (Remains) / 2015 / remains of chair, mirror, oyster and digital print.
© 2016, Arróniz Arte Contemporáneo & Omar Barquet. All rights reserved. This publication may not be photocopied, printed nor reproduced in any medium or by any method, in whole or in part, without the written authorization of the editors and the gallery.
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