ASCENCIÓN Y CAÍDA: UN SACRIFICIO
Alberto Odériz
Opening: Wednesday, February 20 / 19 hrs
Centro Cultural de España en México
Guatemala 18, Centro Histórico
Mexico City, Mexico 06060
February 20 – May 5, 2019
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In Ascensión y caída: un sacrificio, Odériz gives continuity to recent projects in which he re-signifies materials, building remains, urban waste or stones and rocks, found in the city or in its natural habitat, to challenge the own sculptural fact and the art mechanisms that legitimize it.
The piece works as a laboratory that reproduces sculptural processes to question and deconstruct them, in search of their own essence. He investigates the Mexica rituals as inspiration to conceive a project articulated around the idea of falling. The fall as closure of a previous act, the ascension. A fall that implies a break.
Within the Mexica cosmogony, the Coyolxauhqui divinity—found in 1978, a few meters from where the exhibition is located—is the one who best embodies this ascension-fall couple. According to the Mexica myth, Coyolxauhqui led his brothers to Coatepec where his mother, Coatlicue, the mother goddess, was pregnant by an unknown father. Coyolxauhqui and her siblings wanted to assassinate the goddess. However, at that time, Coatlicue gave birth to Huitzilopochtli, who was born dressed as a warrior, beheaded his sister Coyolxauhqui and threw her head to the sky (becoming the moon), while her body was thrown and fell down the mountain, dismembered.
The myth attached to its formal representation—the pink quarry stone with the image of Coyolxauhqui—illustrates in this context the transformation of a material into a symbol, acquiring a ritual function linked, in this case, to the idea of sacrifice.
Alberto Odériz (Pamplona, Spain, 1983)
He was born in Pamplona (Spain) in 1983. He is an architect by the ETSA of Barcelona in 2008 and has a Master in Analysis Theory and History of Architecture and the City by the UNAM, with a thesis on public space in Mexico City.
Since 2010, he has resided in Mexico where he combines his work as a sculptor with other disciplines, such as urban planning (urban consulting) or teaching (he directs the research seminar in the MA in City at CENTRO).
He has recently made exhibitions around the theme of La inexplicable roca, exploring from sculpture different actions that humans perform on the stones to signify them: the installation El Zócalo at Plaza de la Constitución (2014); Casa manifesto, a reconstruction of the ideology of the first functionalist house by O ‘Gorman (2017); Nueve(punto)ocho, on the relationship of objects with bodies (2018); Dolmen, levantar la piedra, in a town in the north of Spain (2018); or the installation Y al final, una piedra at Parque Lincoln, Mexico City (2018).
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