Contemporary Art in the Americas Arte Contemporáneo en las Américas
Practice in Leisure

Practice in Leisure

Louis Fratino, Ridley Howard, Sadie Laska

Galería Mascota Ciudad de México 11/10/2017 – 01/05/2018

Out of my mind the golden ointment rained, And my ears made the blowing hymns they heard. I was myself the compass of that sea: I was the world in which I walked, and what I saw Or heard or felt came not but from myself: And there I found myself more truly and more

Louis Fratino, Ridley Howard, Sadie Laska. Installation view of Practice in Leisure, Galería Mascota, Ciudad de México, 2017. Photo credit: Pj Rountree. Courtesy of Galería Mascota and the artists Louis Fratino, Ridley Howard, Sadie Laska. Installation view of Practice in Leisure, Galería Mascota, Ciudad de México, 2017. Photo credit: Pj Rountree. Courtesy of Galería Mascota and the

Prologue: Digital Cenotaphs Prologue: Digital Cenotaphs

Prologue: Digital Cenotaphs

Miguel Ángel Salazar

Galería Mascota Mexico City 07/15/2017 – 09/10/2017

Prologue: Digital Cenotaphs takes on the idea of the traditional cenotaph, a sepulchral monument erected in memory of a deceased person whose body cannot be recovered or found, in order to deepen our understanding of digital materiality. A cenotaph’s physical form creates a memory that is constructed through its association with a body deemed worthy of being remembered. However,

Installation view. Miguel Ángel Salazar, Prologue: Digital Cenotaphs, 2017. Bronze fillmaent hand finished 3D print. Photo by Juan Pablo de la Vega. Image courtesy of Galería Mascota and the artist. Miguel Ángel Salazar, King Uthal (II) (detail), 2017. Bronze fillmaent hand finished 3D print. Photo by Juan Pablo de la Vega. Image courtesy of Galería Mascota and the artist.

Ozone Flowers

Ozone Flowers

Michael Assiff

Galería Mascota Mexico City, México 02/08/2017 – 04/08/2017

Ozone Flowers, a show by New York-based painter Michael Assiff, has two pressing events in mind: the onset in 2017 of the Mexican ‘Cap and Trade’ carbon market to reduce greenhouse gasses, and, to the country’s north, the ascent to power of a new climate change-denying political regime. Strung together, the ecological tableaus Assiff creates denote a new world order,

Michael Assiff, Installation View (Hyperaccumulators, Hyperaccumulators), 2017. 40.64 x 50.8 cm each. Courtesy of Galería Mascota, Mexico City. Photo: PJ Rountree. Michael Assiff, Hyperaccumulators (Wedding Hive), 2017. Plastic, latex, UV print on canvas, craft bees. 40.64 x 50.8 cm. Courtesy of Galería Mascota, Mexico City. Photo: PJ Rountree. Michael Assiff & Chelsea Culp, Rex, 2017.

A Sister History

A Sister History

Adam Milner

Galería Mascota Mexico City, México 11/10/2016 – 12/22/2016

A Sister History by Adam Milner explores bodily materials —blood, flowers, hair, belly button lint, false eyelashes— and closes gaps between natural and artificial, human and non-human, inside and outside. The works, comprised of rigorously collected and mined material from himself, friends, strangers, and other living things, collectively ask questions about who or what has

Installation view. Courtesy of Galería Mascota. Photo credit: PJ Rountree Unititled (Roses), 2016. Variable dimensions. Decaying roses. Courtesy of Galería Mascota. Photo credit: PJ Rountree Monuments (Daria, Politimi, Alisa, Genevieve, Nina), 2016. 5 x 10 cm each. Fake eyelashes and bronze. Courtesy of Galería Mascota. Photo credit: PJ Rountree A Sister History de Adam Milner

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Dustin Hodges

Galería Mascota Mexico City, México 09/23/2016 – 11/04/2016

Galería Mascota is pleased to present toke of proof krept shep’ly an exhibition by Dustin Hodges. Hodges’ work considers painting as a form of labyrinth in relation to the gallery’s architecture. Labyrinth here is understood in the Borgesian sense of a self-enclosing structure wherein endless loops seem to deny linear time in favor of obstinate circularity. toke of proof

Galería Mascota is pleased to present toke of proof krept shep’ly an exhibition by Dustin Hodges. Hodges’ work considers painting as a form of labyrinth in relation to the gallery’s architecture. Labyrinth here is understood in the Borgesian sense of a self-enclosing structure wherein endless loops seem to deny linear time in favor of obstinate circularity. toke of proof