23.04.2021
By Minerva Cuevas, Wilfredo Prieto, Damián Ortega, Bárbara Sánchez-Kane & LLANO
March – April, 2021
Siembra 18
Minerva Cuevas – utopistas / quiauitl
In Utopista / quiauitl, Minerva Cuevas presents a collection of posters created over the past two decades for her presentation at Siembra 18, assembled together for the first time. Posters and murals, as mediums, have been fundamental means in her artistic and political practice throughout her career. Siembra 18 materializes a series of 22 serigraphs, graphics globally produced for various social contexts, that visually guide the observer through the investigations and constant concerns in her work. These include concepts of contemporary colonial relations, exploitation, nationalism, social ecology, militarism, and equality.
Siembra 19
Wilfredo Prieto – FAKE NEWS
Wilfredo Prieto presents his Fake News project at Siembra 19. The series is comprised of paintings that are a result of a rigorous daily exercise entailing the artist’s close read of the national and international news. He then interprets the information (or misinformation) of that mornings’ media through painting, titling each with the headline that it is in response to. The process transforms the news into pictorial abstractions, whereby one representation of reality is translated into another.
The exhibition is updated daily with the five mediumformat works in response to the days headlines, operating at the same speed as broadcast news. Prieto applies the paint directly from tube to raw canvas, bypassing the intervention of other materials, that render painting in its purest form. Prieto’s abstract application of paint generates compositions that visualize the comprehension of reality – mired in emotion and experience.
Siembra 20
Damián Ortega – Jornada Laboral
Damián Ortega presents Labor Day at Siembra 20, a selection of works of embroidered canvas that reproduce selected elements of the newspaper covers from the Mexican newspaper “La Jornada”. Ortega’s artistic practice has been characterized by constant play and experimentation with different types of tools. These he regards as extensions of the body that give it faculties allowing it to manipulate and transform materials. He views embroidery as an intimate, daily, and silent, ritual in which the mechanical movement of the hand generates a close relationship between digital and time. The stitched thread on fabric takes on a sculptural quality as a visceral record of time as it elapses, documenting the emotive landscape in reaction to daily events. It is a technique that associates organic impulse with learned skilled, one often acquired through school or family education. Ortega is also interested in the link sewing has to moments of community coexistence, domestic exchange, and their association to environments of intimacy and humor.
Siembra 21
Bárbara Sánchez-Kane – Prêt-à-Patria
Bárbara Sánchez-Kane presents Prêt-à-Patria at Siembra 21, a project that combines art and fashion in video, the artist’s solution to performance during a time of social distancing. The piece, formulated like a play, addresses the construction of masculinity within the Army as an institution, though her work at large revolves around the examination of identities based on gender. Prêt-à-Patria’s plot centers around a military escort parade complete with a marching band all in costumes designed by the artist.
Siembra 22
LLANO – Lorena Ancona, María Sosa & Tania Ximena
LLANO is a Mexican platform focused on artists whose production is based on long-term research processes and whose body of work is linked to science, history, technology, forgotten knowledge and invisible communities. LLANO focuses on processes of knowledge and research, creates links and promotes approaches and learning around the work, and seeks to dislocate the viewer by taking them beyond the everyday experience of traditional exhibition formats.
LLANO presents a collective project with recent work by Mexican artists Lorena Ancona (Quintana Roo, 1981), María Sosa (Michoacán, 1985) and Tania Ximena (Hidalgo, 1985).
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