KRSTO

07/02/2023

Duncan looks toward its origin and evolution. The focal point of this exploration is the so called Last Universal Common Ancestor (LUCA), a term coined by biologists in the 1990s to denote the vital substance from which all earthly life derives. Duncan symbolizes LUCA with a pattern of scales, alluding to the lingering presence of antecedent features, such as reptilian scales, in the human body, i.e., in the form of hair and nails. Less literally, the scales stand in for an organism the precise nature of which remains unknown an object of much speculation. One theory holds that LUCA was a cellular being that lived near the mouths of hot vents on the ocean floor. This notion may account for the presence in some of Duncan’s paintings—particularly the ones incorporating scales-- of tubes that appear to rise from an obscure ground, emitting streams of energy into murky space.

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07/02/2023

A promised day
on its micro orb crawled across
light-years of quotidian
if ever
a grain of sand
each verbs in breath

Not a promised day
unnervingly (uncountable) quantifiers
fast-arriving from
environment
if never
too late to brake
damage beyond repair

A no promised day
In the
end
there is not

nothing

Text by: JoYing Peng

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07/02/2023

Garrard brings ten tons of quartz sand into the gallery space for a site-specific installation, sculpting the sand into mounds and depressions that form a vernacular of personal symbols. Rocks from the surrounding mountains and desert are placed in specific relation to one another, the correlation between the objects, how the rocks are positioned to work and resonate off each other to create a kind of morphic field within the gallery space. The sculptural installation operates as a microcosm of the universe—composed of many elements that appear as a unified mass when viewed from a distance but can all be broken down and reshaped over time. The structure is built with the inevitability of decomposition—loosely bound sand as a medium will not last. Nature, time, and chance are Garrard’s collaborators.
Text by: Samantha Ozer

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07/02/2023

Sophie-Alexia’s works deal with the emphasis on its own materiality by breaking from deliberate processes. She emphasizes the use of various materials to reinforce and express concepts relating to esoteric, social and scientific theory. Her abstract works play on the conflict between the conscious and unconscious development of form. The works aim to capture both personal and universal concepts and experiences in all their sensorial totality. Sophie-Alexia's works integrate immediate elements found in her environment as a part of her process. The works aim to portray a sense of movement within them depicting the illusory quality of the present moment. Both foreground and background are integrated into their compositional structures, allowing the works to suspend in their own field of perception.

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07/02/2023

Anibal Catalan's work maintains a strong link with architectural thought. His training in this discipline permeates his artistic proposal, in which he integrates reflections on various buildings, their spaces and above all their structures. His works integrate images that reveal the inner souls of constructions, understanding said structures as geometric figures.
Text by: Josefa Ortega

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Photos by: Priscila Mier

07/02/2023

Central to Duncan’s methodology is the expression of mystical correspondences between cosmic history and the birth of life, the evolution of consciousness, and the structure of myth. He posits that our patterns of feeling and knowing echo the bursting, coalescing, expanding, and contracting cycles of universal creation.
Text by: Lawrence Rinder

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Photos by: Priscila Mier

07/02/2023

Occupying the entirety of a gallery wall is Garrard’s Only in Time Will You Understand, an installation she initially created during her six-week residency at Casa Wabi. It includes ceramic sculptures, crafted from local clay and cooked in a traditional Oaxacan oven, intermixed with found objects such as seedpods, sticks, and coconuts shells. It is a merging of the manmade and the natural, with connotations of an ancient ritual whose veiled mystic purpose is known only to the artist. Taken in their entirety, the works on view constitute a ceremonial space for contemplation and meditation.
Text by: Anfisa Vrubel
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Photos by: Priscila Mier

23/03/2021

09/03/2020

El galerista Michael Findlay aboga por un plan integral para ayudar la creación artística

05/11/2019

Amor Muñoz
Notes and Folds
Jacquard x Google Arts& Culture Residency
Paris, 2019

Notes and Folds is an interactive installation that aims to create a connection between sound and form, and programming and handcraft. Three cylindrical sound sculptures are covered of pleated textiles with different textures that are mapped and translated into different musical patterns. The sculptures are activated by the public when approaching their hands to the fabric, making each cylinder rotate in different speeds and sound in different registers. In few words, the installation is a kind of spatial musical instrument in which pleated patterns work as a score.

The project is inspired in the work of Ada Lovelace, who related programming computational automata to make music. And also in the work of two twentieth century composers: Morton Feldman, who based some of his compositional techniques on the asymmetrical patterns of Middle Eastern rugs (e.g. Coptic Light for orchestra) and Conlon Nancarrow, with his complex compositions for pianolas that connect the artisan work with the programming when coding his music with perforations made by hand on paper rolls.

Notes and Folds by Amor Muñoz Jacquard x Google Arts& Culture Residency National / Paris, 2019. Notes and Folds is an interactive installation…

23/10/2019

BIOFILIA
Festival Internacional de Santa Lucía 2019
Las Artes Monterrey
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ELENA PÁEZ
"Nuevo Homenaje al Sol". 2019.
Su trabajo se centra en una reflexión activa sobre cómo vivir en el presente y asimilar la experiencia del pasado a través de la luz. Trabaja sobre las cualidades del recuerdo que se registran en el espacio, mediante el uso de materiales que le permiten marcar el paso progresivo de la luz. Inspirada en la escultura "Homenaje al Sol" (1980, ubicada frente a la fachada sur del Palacio Municipal de Monterrey) del maestro Rufino Tamayo, esta pieza fue diseñada tomando como referente principal el cálido sol de la ciudad de Monterrey, que a diario define el comienzo y el fin de la actividad regiomontana. Su objetivo fue crear una pieza interactiva que al exponerse al sol produce una expansión de sombras y colores proyectadas sobre el piso. La activación va cambiando según la posición del astro durante la jornada.
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ELENA PÁEZ
Nació en la ciudad de Monterrey, México, en 1994. Se graduó con honores de la licenciatura en Artes por la Universidad de Monterrey, UDEM, en el 2018. Actualmente estudia la licenciatura en Psicología en la Universidad Latinoamericana. A principios del 2018 expuso de manera individual su proyecto "Tacubaya 105" en Espacio en Blanco; y en noviembre del 2018, tuvo lugar su exposición "Experiencia de luz y tiempo" en Galería K2. Ha participado en diversas exposiciones colectivas dentro y fuera del estado de Nuevo León. Algunas de ellas en los espacios alternativos más reconocidos de la ciudad de Monterrey: NoAutomático, Malteada La Vida y Oscilante, entre otros. En enero de 2019 participó en la exposición Un panorama cuando empieza a anochecer, curada por Marco Treviño, dentro del programa de PreMACO Monterrey. En el 2016 fue seleccionada para participar en la Bienal UNAM Artes Visuales en la Ciudad de México.