dossier young art 2011-eng

8/3/2019 Dossier Young Art 2011-EnG

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Bancomer-MACG. Program for Young Artists

Second Generation (2010-2012)

BBVA Bancomer Foundation

Museum of Art Carrillo Gil


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Bancomer/MACG Program for Young ArtistsSecond Generation (2010-2012)

The Bancomer/MACG Program or Young Artists is an integral grant ocused on continuingeducation, research, and production or the development o new artists projects.

The programs goal is to open avenues or thought and criticism within ar tistic practicesand to support the proessionalization o a young generation o artists. It also seeksto promote processes o negotiation, dialogue and exchange among the artists andtheir social milieus, with a special ocus on the way such processes are materialized inartistic works that can create new orms o interaction with audiences.

The Second Edition (2010-2012) is addressed to projects based on transdisciplineinwhich artists develop research that involves dialogue with areas beyond the visual arts,crossing the borders o other disciplines like music, literature and flm; natural scienceslike physics and biology; social sciences like ethnography, anthropology, sociology and

history, and other areas such as engineering and psychoanalysis, just to mention a ew.

The second generations current group o ar tists under the auspice o the Program is:

Begoa MoralesDiana Mara GonzlezFritzia IrzarGilberto EsparzaIdaid RodrguezIsaac TorresJaime Ruiz Otis

Jos Jimnez OrtizNaomi Rincn-Gallardoscar Cueto


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BEGOA MORALES (Lima, 1977)explores how architecture and sculptureadjoin to each other. In her workarchitecture is understood as a xed

identity rooted in a territory, and sculpture as abody in space, temporarily rooted to a place but

potentially displacing and changing.

This artist understands architecture as acontainer overloaded by the events andexperiences o its inhabitants. An importantpart o her research ocuses in the architectureo modular houses as a livable space andarchitectural equivalent o the subject-individual.

For Morales, home is a progressively sculptedplace. Desires, ears and material conditionsdetermine specic shapes. Home conguresand is congured by subjectivity. These tropesmake the home (a scale sculptural model):architecture, setting and dweller at the sametime. The inhabitants emotional state istranslated into a phenomenon o space, whenthe solidity o the architectural receptacle isput at risk. The relationship between limits andinterior elements is surpassed.

Project: (UNTITLED)

To design, build and consolidate a structuredlodging place that encourages the completion othe daily urban tasks o the modern middle classindividual is a project that has been replaced by

another, that o oering the illusion o propertyand private space to bulky demographic groups.The State delegates the power o giving andsupervising housing to a group o companiesthat exploit the mobility aspirations oindividuals. in order to commercialize low qualityhouses in wastelands without public servicesand hours away rom working centers. Besides,Mexican middle class and wage earners areclearly decreasing and impoverishing.

The marketing campaign o this companiesare aimed to capitalize on the necessity ohousing, but also on the desire o a home anda social status lets not orget that thesehouses are primarily sold as projects. Specicnotions o desire are implanted through slogansjuxtaposed with montages, scale models andother virtual tools.

Begoa Morales seeks to approach the kind osubjectivity towards which these enunciationsand representations aim to reach. From thisstarting point, she explores all the possibleormal and material translations conronted with

the mental images triggered by the marketingstrategies and with the modular, matter-o-actdimensions o these contemporary homes.


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Begoa Morales

Horizontal Slope, 2008C-print8 x 10in

Vanishing Point, 2010Glass, tape, nylon thread

51.2 x 118 x 27.5in

Fragment and Roo, 2009Sheet rock, glass, steel, aluminum, concrete

118 x 177.2 x 47.2in


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DIANA MARA GONZLEZ COLMENERO(Mexico City, 1975) works on archivalprojects through the appropriationo visual material and preexisting

inormation lm photogram, images, videoclips, texts, quotes, etc. which she ragments,

classies and rearranges at the exhibitionspace as installations, or in other spaces withthe ormat o guided tours or lectures designedunder a specic agenda.

Her artistic practice stems rom questioningcinemas potential to conquer perceptionand understanding o what is real, and alsorom questioning the domain o images in theconstruction o experiences, gazes, obscuredzones, hierarchies, value systems, thus ormso subjectivity. The work o this artist oscillatesbetween being an avid spectator o images andreerences nding coincidences and motisin varied materials rom dierent historicalmoments that she compiles, collects andsystematizes; being a translator o dierentmedia and means o image production; andan agent that departs rom repetition, ramingand emphasizing a subjective way o seeingthat becomes a mode o social valuation, orexample in relation with the antastic, theuture, the ear, etc.

In many o her works, Diana Gonzlez obliterates

cinematic narrative and deconstructs (throughthe extraction o rames o ragments o lm)several body gestures, looks, positions andexpressions in characters, thus revealing howthese representations have infuenced therelationships among subjects in her experienceand daily lie.

Project: SYMPHONY OF OPPOSITES

From twenty-seven Mexican lms made between1919 and 2005,1 with a plot unolding andcharacters directly relating to Mexico City, thisartist will develop a chronicle o the city through

its cinematic representation. From these lmsshe will extract sequences starring the city itsel,disregarding the movies plot. These sequences,shots, rames and atmospheres will bereconstructed in video by reshooting the exteriorlocations o the lms in the present.

Diana Mara will use this material to createa video-essay in which she will analyze thetransormation o the city, changes o thelandscape, transport, industrialization, de-industrialization, costumes, trac, modes obehavior and types o human groups in publicspaces among other aspects. Synchronicaudio o the shoots will be mixed with an oralnarration that will testiy on the rendezvous andseparations provoked by the making o the video.

1 Some o these lms are: Los olvidados (1950) by Luis

Buuel, Rojo amanecer(1989) by Jorge Fons and Amores

perros (2000) by Alejandro Gonzlez Iarrit.

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Diana Mara Gonzlez Colmenero

Acts o Will, 2007Exhibition La puta de nuestras conciencias

(in collaboration with Maj Britt Jensen)Installation view at Sala de Arte Pblico Siqueiros(Mexico City)

Viddy Well!, 2008Footage archive o science ction lms

Variable dimensions (157.5 x 118.1in approximately)

Film noir, 2008Black and white piezography on cotton paper

59 x 23.6in each stripe


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FRITZIA IRZAR (Culiacn, 1977)generates situations in which shediscovers how speculation derived roma possible event, random or arbitrary,

becomes a surplus value.

One o her strategies consists into applyingrigorous scientic procedures o samplingand cryptographic techniques (supervisedby experts). At the oreground there is theuncertain hope that the eectiveness o theanalysis devises will reveal the physical patternso phenomena initially assumed as intangiblebut meaningul.

She also takes advantage o the duality ocertain materials that indicate wealth (e.g.gold or diamonds, which are highly regardedbut at the same time minimal as physicalpresences). The artist intends to congureprocesses where the genre o sculpture, itsrelation with time and the body, and the realtransormation o material are activated throughsimple but strong gestures.

Fritzia seeks to unravel the mechanisms underwhich value is stated, codied and transormedinto implicit and unquestionable by revertingthe process scrutinizing the possibility ociphering a message without the will o meaning,just the sole evidence o desire.

Projecto: FAITH AT RANDOM

The project seeks to create a bank o talismansand a database o inormation about them. Aterthat, the objects will be put again in circulation.

Through a series o ads distributed in Culiacn,Sinaloa, the artist will make oers to buytalismans at a negotiated price, ater havingreceived an electronic image and a writtenaccount o the powers o the object. The aim isto gather a cluster o anecdotes and speciallya glossary o notions around ear, luck andortune. On the other hand, the artist seeks toregister the processes o negotiation with theproprietors o the objects, so that the price othe talisman is weighted in monetary terms.

The acquired objects will be submitted to ananalysis o their tangible traits and the storiesaround them will be the source o diagnose ora psychoanalyst.

All the inormation around the talismans willconstitute a sort o catalogue o potentialprotection against damage and provision owellbeing outside the organized aith systemso religions.


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Untitled (0.18 x 1.1in, 43ct, VS2, G), 2008Digital printSeries o 4 photographs, 41.3 x 61.8in each

Untitled (Illusion and Disappointment), 2008-2009Black and white digital print, headphones, audio

Variable dimensions (78.7 x 157.5in approximately)

Untitled (S, I, N), 2007Installation view and video stills

Variable dimensions (118 x 78.7 x 78.7in approximately)

Fritzia Irzar


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GILBERTO ESPARZA (Aguascalientes,1975) develops projects in whichhe analyses the relations andunbalances caused by urban and

technological advances in modern societies.His raw materials are the symptoms o urban

transormation refected in social habits and inthe deconstruction o their surroundings, romwhence he congures his pieces.

His projects involve practical and conceptualcollaborations with designers, architects,electronic engineers, programers, activists andacademics that work in alternative initiatives toeconomic powers establishment, in order torecover, generate and use energy. Thus, his workis also a refection on the fow o energy andeconomy and the principles that activate andmove the city.

Esparza extracts electronic and mechanicalcomponents rom waste, and he uses themto assemble little robots that react to dierentphenomena around them. An example o thisis his series Urban Parasites, where anelectronic spider pushes waste, or a robotclinging to electric cables uses their energyto eed and move.

Project: NOMAD PLANTS

In collaboration with a team o biologists andengineers, Esparza has developed the prototypeo a multiple organism that eeds rom theresidual waters o Ro Santiago (located inEl Salto, Jalisco, in the West o Mexico). Thecreature also eeds a plant while producingoxygen. This river is the nal destination o thesewer canals that carry highly toxic industrialwaste produced by private companies andreneries o the central part o the country.The Nomad Plantis a live organism constructedby a robotic system, an organic plant and asystem o photovoltaic and microbe cells.2

In this next phase o the project, the artist willdevelop a new robots model programmed with

an articial intelligence system that will allow orregistering and repeating routes in the search oood. This Nomad Plantwill be located at LermaRiver banks (one o the biggest rivers o thecountry, and also an important source o waterand electricity). Historically, this river has beenpivotal in agriculture and shing, but nowadayscarries a big load o industrial waste, which hascaused a serious environmental damage, anda severe transormation in the activities o theinhabitants o the surrounding lands.

The creation o a small symbiotic living

organism that cleans water in a small scalereveals a political void in the big programs oindustrialization developed in that region.

2 Fragment o Esparzas text o presentation o the project.


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Gilberto Esparza

Street Lighting(rom the Series Urban Cancer), 2006Installation o 11 street lamps (public intervention)

ppndr-s (rom the Project Urban Parasites), 2007Motors o toys, galvanized iron wire, technological waste

Variable dimensions

dblt(rom the Project Urban Parasites), 2007Motor, recycled electric components, acrylic, aluminum,

micro-processors, sensors17.7 x 11.8 x 4in


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IDAID RODRGUEZ (Mexico City, 1975)departs rom memories and oral narrationso the members o a community, to create,through drawing, a reconstruction o spaces,

places and atmospheres that have vanished andsurvive as the phantasmagoria o a specic time.

The project The Lost Fameocuses in theneighborhood La Fama Montaesa, in SouthMexico City, where the ar tist was born andraised. This neighborhood was ormed aterthe installation o a textile actory o the samename in early XIX Century. The settlements oactory workers and their amilies continuedeven ater the actorys decay and nal closingin 1998. The neighbors o the community sharea common history around the absence o thesame inaccessible building. Even the youngestmembers have never seen the building, itremains as a source o multiple stories.

Idaid Rodriguez work stands as an ulteriordocument in progress built through thecompilation o narrative ragments that becomeimages that clash and rearticulate.A undamental part o this reconstructiveprocess is the participation o the actingentities as the artist calls the par ticipantso the project, both audience and collaboratorsthat draw rom every possible source o memory:sounds, temperatures, time experience through

routines, codes, etc.

Project: THE LAST SHIFT

This is a project that reconstructs the last day othe Mental Hospital La Castaeda, in MexicoCity. This psychiatric hospital was established in1910 under the auspice o Porrio Daz, as parto his modernization plan and in commemorationo the hundredth anniversary o MexicanIndependence. This was the most importantinstitution o its kind in the 20th Century. In1968, Manuel Daz Ordaz government decided toclose it and transerring the patients to dierentnon-specialized institutions outside the city this was done as part o the cleaning programthat preceded the Olympic Games o Mexico Cityin that same year.

Through a series o interviews to two ormer

interns, along with an investigation on theinstitution, this artist will become a mediumwith the purpose o documenting the process odismantling and eviction o the place, and theexperience o rediscovery o the city made bythe patients.


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Idaid Rodrguez

Stretchers, 2007Mixed media

82 x 22.4in

Loom Hall, 2009Charcoal on wall

Installation view at Museo UniversitarioArte Contemporneo (Mexico City)

Photography: Brenda Ortiz

Dictionary, 2008Video

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The core oISAAC TORRES (Mexico City,1981) work is the urbanization processin Mexico City ater the 1910 Revolutionand especially ater the second hal o the 20thCentury. This artist takes the city as the platormrom which the all o the modernizing project

that boomed rom the 30s to the 50s can beobserved. Urban aesthetics and architecturalblossoming were signs o a buoyant nationduring this period o State institutionalizationand industrial development. However, at thebeginning o the second hal o the century, theprojects centralization lead to a progressivedismantling o agricultural production, which hadas consequence an unstoppable migration spreetowards the countrys capital. This avored thechaotic and euphemistically called organiccitys growth.

In this context, Torres builds allegories romsigns gathered rom the operation o economiesin relation with global economy and its sequels.The improvisation o measures that substitutewhat should be public policies is a phenomenonthat the artist perceives and synthesizes in hisinstallations: To ollow the saga o events aterthe explosion o gas pipelines in 1984 and1985s earthquake is an example o that.

Another element that Torres integrates in hisproduction is the iconography derived rom the

processes o modernization and urbanizationthat generations assimilate in the shape o aninherited imaginary that settles and propagatesin the identity o the inhabitants o the city.

Project: THE LANDS SURPLUS VALUES

This is a cartographic and documentary projectthat stems rom the premise that Mexico City isa cluster o patches that has adopted a randomand contingent shape. Housing conficts havemarked this city where groups o people sharinga common history and identity have taken intothemselves the adjudication o living spacesthrough complicated and sometimes violentnegotiations with the authorities.

This artist will research case studies throughthe gathering o anecdotes and registeringthe acquisition and occupation stories behindspecic constructions and their residents,in specic points o the city. His purpose isto cover the entire urban territory. A process

o mapping and diagramming o these eventswill be made aterwards, ollowing the ormationo dierent settlements, their transormationsand in particular their densication, as wellas the impact and changes caused in thesubjects-residents.


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Isaac Torres

1984/Squander and Explosion, 2008-2009Model, light box, monitor, bricks, documents, silk printsInstallation view

100 Acts, 2006Series o 100 C-prints

6.7 x 6.7in each

Democracy, 2006Silk print on t-shirts

Documentation o action


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JAIME RUIZ OTIS (Mexicali, Baja Caliornia,1976) investigates the current notiono landscape as the place or spacewhere human beings develop and recognizethemselves. His work is linked with theindustrialization o Mexico ater the North

America Free Trade Agreement (NAFTA).This political event brought about a drastictransormation o the northern cities o Mexico,along with their people and activities.

The actories settled in the region, or instancein Tijuana (where the ar tist lives and works),are mainly dedicated to the production oelectronic equipment. In such a eld innovationis a dening value that operates on the basiso challenging perception (the gadget mustbe exponentially superior to human organs insensitivity and precision), and where the gadgetsobsolescence is controlled, so that usersassimilate replacement as a consumption habit.To sustain such systems o production requiresprocesses o optimization implemented underthe logic o acceleration: human participation istranslated into mechanical activities conditionedby machines, where squandering o materials ispart o the demands o competitivness.

Ruiz Otis excavates in waste to search thetrail o the work o anonymous individualsthat live labor as an invisible, expendable,

but nonetheless specic experience. Inhis work he uses the universe o industrialwaste o the assembly actories as rawmaterial, generating compositions (sometimesrandomly) in the pictorial plane or in theexpanded space; in them the modular andserial character o the materials is conronted.Examples o this are the installations in whichhe uses adhesive labels glued to electronicequipment showing use instructions, warningsand quality certications. He also employselectronic circuits, plastic waste and deectivecomponents to assemble sculptures that outline

the yearning or lost nature.

Project: TRANSIT SYMPHONY

The processes o urbanization, demographicgrowth and transormation o urban activitiescan be portrayed in the fow and displacemento urban inhabitants. Even though big citiesare concentrators o wealth, services,products, innovation and inormation (theagents associated to modernization, progressand civilization, and undamental entities incontemporary ethos), their constant expansion,densication and correct unctioning, require orthe individual to spend a large amount o time ininvoluntary, passive and unproductive activities;thereore subverting the concept o time itsel.

Jaime Ruiz Otis takes the automobile and itsuse, replacement and production cycle as a

metaphor o mechanized lie. On the side, heinvestigates the historical and current policiesand the economical interests implied withinthese productive cycles in order to show howthey have aected urban and social dynamics.At the same time, the automobile and byextension, landscape is adapted to practicesand subjective cultural needs that do not seemto respond to any evident agenda.


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Jaime Ruiz Otis

Trade Marks, 2008Disposed industrial stickers on wall

Variable dimensions (surace 820 square t approximately)

Installation view at Centro Cultural Tijuana (Mexico)

Garden, 2007Monitors grinded plastic, monitor covers, wood

354.3 x 275.6inInstallation view at Laboratorio Arte Alameda (Mexico City)

Introphotosensiproyecta, 2005Plasma television lenses, sensors, light

Variable dimensions 315 x 275.6 x 236.2in approximatelyInstallation view at Museum o Contemporary Art San Diego (US)


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JOS JIMNEZ ORTIZ (Torren, Coahuila,1980) operates like a spy or cyber-voyeur.He appropriates the lost inormation ohard drives in cyber caes to construct storiesand propitiate relations. This artist searches inprivate inormation turned into public domain

when let in public computers.

Jimenez elaborates a hermeneutic exerciseand a detective search through letters, CVs,ocial documents, digitalized IDs, pictures andciber chats. Sometimes he becomes an agentthat inltrates in the processes o the ownerso the inormation; sometimes these elementsbecome a raw material or the reconstruction oa ctional story.

While conducting his research on inormationas construction o individual identity, ormso circulation as orms o socialization, theirimmateriality and eects upon reality, Jimenezanalyzes the screen image as a compositionalrame, window, interace and sign, using pictorialtechniques and traditional graphics that, in theirtime, had the prerogative o representing reality:thus, conronting both systems and eras.

Project: ETERNITY IS POSSIBLE

Facing the current notion o public sphereclaimed by Internet social networks,Jimenez proposes to create a company thatphilanthropically will handle posthumous social

network activity or young users.

Socialization in public spaces has been severelyaltered by the expanding drug trac relatedviolence in Mexico. Entertainment, nightlieand public activities are synonyms o risk,so that virtual experience o social lie hasbecome prominent.

Jose Jimenez aims to analyze how thespectacularization o the sel is replacingprivate relations. On the other hand, he watchesthe particularities o the North o Mexico,where the odds o dying drastically introduceanticipation into daily lie: the necessity ogenerating devices to produce exceptionality andexperience in the midst o an aected realitybecomes imperative.


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Jos Jimnez Ortiz

The Bibliographic Adventure o Escarlet Casillas, 2009

35mm slides transerred to DVD, television, bookshelVariable dimensions, video 2

Outsourcing, 200935mm slides transerred to DVD,

ling cabinet, 200 CVsVariable dimensions, video 3 32

Neo Laconism, 2009Oil on wood51 x 26.7in


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Collaborative processes among otherartists, collectives (youth associationso Indian-American immigrants living inthe UK) or groups o individuals linked

by a specic context (art students, educationstudents, jail inmates) are a central part in the

artistic practice oNAOMI RINCN-GALLARDOSHIMADA (North Carolina, 1979). Theseprocesses are cathartic exercises where certaindiscourses on the body or bodies are revealed,through literality and voluntary incarnation o aset o rules that unction as instruments to clearand condition the conguration o identities.

Her rst approach on body representations anddelimitations o the existential rames o theserepresentations (verbal and visual) can be oundon her pictorial collages where the composition(cuts, repetitions, juxtapositions, saturationsand layer games) expose modes o interactionand aection.

Rincn Gallardo integrates her interest in music,literature, methods o dramatic art, and artteaching into her work. Form here, comes awide practice that is born rom mixtures andcontagions and not rom xed categories.

Proyecto: A MUSICAL ON THE PUNKREVOLT IN MACDONALDS ZONA ROSA.MEMORIAL OF ANTI-AUTHORITARIAN,REVOLUTIONARY YOUTH

JAR is a punk collective ormed in Mexico City

in 1993, at the same time as the ZapatistaMovement o National Liberation. Its memberstook part in several activities o the autonomouscommunities in the state o Chiapas, andparticipated in the 1111 Zapatistas Marchtowards the National University. Due to amaniestation outside a MacDonalds restaurant,which was initially peaceul but ended in thedestruction o the locale and the intervention othe police, the authorities began a systematicharassment and inspection against young punksin the city.

This event lead to the consolidation o the JARs,which have developed and taken part in severalanti-authoritarian resistance actions, creatinganzines, alternative radios, ree-sotwareworkshops, martial arts groups, communityorchards, and produced docens o undergroundevents with musical groups rom Mexico, Spain,and the US, in their own night clubs suchas The Real Underand UTA. JAR ceasedoperating as a collective a ew years ago.

Through a series o interviews with JAR ex-

members aimed to reconstruct the MacDonaldsevents, and in direct collaboration, NaomiRincn-Gallardo will write the song lyrics.These songs, in the manner o chapters, willaccount or every practice o resistance that themembers o the ormer collective keep puttingin practice. The music o the songs will be madeby one o the punk groups ormed within theJARs, and the choreography will be developedby a choreographer and the groups martialart proessors. The ending result will be adocumentary music video.


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Naomi Rincn-Gallardo Shimada

Naomi Rincn Gallardo

Manglar. 2007.

(Stills)

Video 3 mins

Lana y Leda. The Two-Flower Maiden, 2004

Video7 02

Ceremony, 2009.Wallpaper, paintings, collages, video, editions.

Variable dimensionsInstallation view (Uruguay 52, Mexico City)

Buscavidas Mix, 2010Jukebox, drawings on paper, CDs

Variable dimensions


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Through drawing and objects, SCARCUETO (Mexico City, 1976) elaborateshistory-writing exercises, exploring thenotion o subject and the ctional biography as astarting point.

By magniying the veneration awakened bygures o knowledge like philosophers, men oletters and celebrities, and by mystiying theevents o their lives, Cueto searches into themechanisms o identity construction. His ironicstand about his own exacerbated subjectivityproves to be charged with aspirations. At thesame time, he reveals an ethic sustained onthe cult o personality by presenting himsel asa persona.

The resonance between text and imagewhen they are juxtaposed, or when the textoperates as image and code (typography andsign) within a book, is a distinctive eaturein Cuetos work. In My Favorite Books, anongoing project, he produces ake re-editions otitles that are reerential or him. Such booksbecome transormed by a gesture, anecdote orpsychological eature o a character within theliterary work, which in turn becomes a literalmaterialization in the shape o a book-object.

Project: A SINGLE DAY

This project consists in producing three dierentdaily newspaper editions o a near uture day,according to three dierent newspapers editoriallines: included all o its contents and sections.The news, even i ctitious and anticipator y, willtake into account recent events.

A Single Dayinvolves the conguration andinvention o replicas considering the ollowingdocumentary elements: rst, the newspaper-object, its reproduction and distribution; second,the graphic inormation (tables, diagrams,ormat, design); third, the photo images; ourth,the types o texts that a newspaper contains(articles, notes, chronicles, essays, editorials,besides paid adds and publicity); and nally,

the approach, tone and spirit o three dierentnewspapers and the style o their collaborators.


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scar Cueto

Once Upon a Time, 2010

Series o 39 drawingsPencil and pastel on paperVariable dimensions

Artifces (rom the Series My Favorite Books), 2010Graphite and eraser fakes on paper

Variable dimensions

Lolita and Kiss (rom the Series My Favorite Books), 2010Digital print and lampVariable dimensions


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Bancomer-MACG. Program for Young Artists

Elda DazProject Coordinator/ Cultural Development

BBVA Bancomer Foundation

Itala SchmelzDirector

Museo de Arte Carrillo Gil

Gabriela VelsquezCultural Development DirectorBBVA Bancomer Foundation

Carmen Cebreros UrzaizCuratorial Coordinator

Program or Young Artists

[email protected]

Andrea PaaschExecutive Coordinator

Program or Young Artists

[email protected]

Av. Revolucin 1608 Col. San ngel C.P. 01000 Mxico, D.F. Tel. +52 (55) 5550-6289

Texts: Carmen Cebreros UrzaizTranslation rom Spanish: Ivn Aguirre

dossier young art 2011-eng

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