Una Utopia De Infancia, by Oscar Benassini for Revista De UNAM, issue: Utopias y Distopias

Pabellon De Las Escaleras, organized by guadalajara 90210

O r g a n i z a d o   p o r   /   o r g a n i z e d   b yguadalajara90210

I n a u g u r a c i ó n   /   o p e n i n g
Preview: 8 FEB - 16:00 PM
Inauguración: 10 FEB - 13:00 PM

F e c h a s   /   d a t e s
10 FEB - 12 MAR 2019

A p e r t u r a   /   o p e n   h o u r s
Visitas con cita previa / visits by appointment

D i r e c c i ó n   / a d d r e s s
Naranjo 96, Santa María la Ribera, CDMX

C o n t a c t o   /   c o n t a c t
Marco Rountree + Alma Saladin
guadalajara90210@gmail.com

S i t i o   w e b   /   w e b si t e
guadalajara90210.com

g u a d a l a j a r a 9 0 2 1 0   p r e s e n t a   “pabellón de las escaleras”, una exposición que consiste en una serie de instalaciones realizadas por artistas de diferentes disciplinas - arquitectura, arte contemporáneo y diseño industrial. La sede es un edificio en obra, con algunas partes a cielo abierto, laberinto de cemento con tuberías aparentes.
Al dar la bienvenida a cualquier material, forma, color y dimensión, la exposición se convierte en una escuela colectiva experimental. El resultado es un parque escultórico artesanal, donde el conjunto de obras conforma una escenografía surrealista con intervenciones poéticas que ocupan el espacio sin sentido y, la mayor parte de las veces, carecen de escala.

g u a d a l a j a r a 9 0 2 1 0   p r e s e n t s   “pabellón de las escaleras”, a collective exhibition morphing into a pavilion of stairs made by artists across disciplines - architecture, contemporary art and industrial design. The space is a building under-construction, with some parts open-top and a cemented labyrinth of apparent pipes.
By welcoming any material, form and color, the exhibition becomes an experimental collective school. The result is a crafted sculptural park, plunged in a surrealist scenography, where the works occupy the space through poetic interventions, often senseless and most of the time, with a lack of scale.

A r t i s t a s   /   A r t i s t s
Mauricio Alejo / Gwladys Alonzo / Anahuacalli / Lorena Ancona / José Arnaud-Bello x Mateo Riestra x Max von Werz / Ramiro Avila / Marco Antonio Aviña / BAAQ’ / Zazil Barba / Victoire Barbot / Daniela Baldelli / Julia Borderie x Eloïse le Gallo / Christian Camacho / Carlos Cole / Pablo Concha / Ramiro Chaves x Alejandra Venegas / Cousumalice / Julien Devaux / DIAGRAMA / Rodolfo Díaz Cervantes / Ruth Encino / Kristo Eklemes / Andrew Erdos / Frida Escobedo / Julie Escoffier / FLORES COSMOS / Manuela García / Rubén Garay / Alejandro Garcia Contreras / Jeronimo Hagerman / Omar Ibañez / Circe Irasema / Ramón Jiménez Cárdenas / Héctor Jiménez Castillo / Joshua Jobb / José García Torres / Iván Krassoievitch / Pablo de Laborde / LANZA / Alberto Lopez Corcuera / Yeni Mao / Chavis Mármol / Sandra Maya x Isle Villaseñor / Enzo Mianes / Theo Michael / Jonathan Miralda / Rozana Montiel / Jimena Montemayor / Josué Morales / Mario Navarro / Ana Nuño de Buen / Alberto Odériz / Alejandro Palafox / Manuel Peredo / PALMA / Israel Quero / Alejandro Romero / Marco Rountree / Alma Saladin / SANGREE / Ana Paula Santana / Federico Schott / Alan Sierra / Alfonso Sodi / Stromboli / Andrès Suoto / The Chimney x Mariana Garibay Raeke, Perla Krauze, Adeline de Monseignat / Thiry Filliatreau / Agnès Thurnauer / Fabiola Torres Alzaga / Alvaro Ugarte / Hugo Vargas x Pablo Prado x REURBANO / Jay Velez / Juan Pablo Vidal / Lucia Vidales / Luis Alfonso Villalobos / Pilar Villela / Alvaro Verduzco / Marek Wolfryd / Luis Young / +++

some images of my installation:

Be Water Again, @ Koraï , Nicosia

Water is between bodies, but of bodies, before us and beyond us, yet also very presently this body, too. Deictics falter.
Our comfortable categories of thought begin to erode.
–Neimanis, 2012

Streams, lakes, oceans and bodies, waves of thought and fluid movements.

Humanity evolution histories out of the sea and our microscopic ancestors. The water percentage in our body. We are water indeed; yet we have to become water again and again. But who are we? This exhibition tries to reflect on what is meant with this first-person plural pronoun. It is interested in a ‘WE’, beyond human, which is living relationally with others, that is constantly becoming.

Moving like water, it brings together artists exploring the dislocation and diminishment of the natural/culture divisions linked to patriarchal histories, observing forms of community between human & non-human agents. By looking at trans-species, cyborgs as forms of multi-becoming that blur categorical distinctions of human/machine or nature/culture, male/female born/man-made, this group show acts as an invitation to think of new kinds of bodies, or non-bodies as mediators of feelings, sensibility and intuition.

It looks back at Dona Haraway’s cyborg myths, inviting us to understand the becoming animal of Deleuze as an allegorical representation for the hybrids we are. The works presented encourage coalitions through affinity and emphasize moments and decisions that this affinity is made possible. It is the animal pack we choose, our dancing bodies, our questioning of nature and science, the monsters we want to be, the molecules we are.

Digital water topographies: the mutual and interconnected production of space and identity is no longer assumed only through a lens of geographical positioning. Instead, the virtual here is a spatial reference point, a realm of potential in which the body – accumulation of forces, vibrations – is being produced.

This leads us to investigate new ways of unification and multiplicity, that escapes the presumably efficient bodies imposed by capitalism strategies, hence, moving away from systems that preserve sexual oppression and put animals, women, queer entities, black and brown bodies -others- at permanent and actual physical threat. Becoming “water” is a tool for destroying the foundation that has been hosting heteronormative and ethnocentric ways of being; becoming water is to desire and seduce differently and through this to cause the sense of self to collapse, diffusing it with others.

Be Water Again: once more and continuously. Be water repeatedly. This ironic -yet not dry- review of the past creates a counter-ritual in an effort to shake the formed regulative discourses. Rituals of becoming are being theorised in an attempt to understand methods of visualising and acquiring queer-feminist life, creating unique hybrids surpassing any sexual chronicle. These kinds of hybrids fight our tendency to anthropomorphise everything and seek no preservation for their own future. Like fluids resisting the spatial and sequential nature of existence, they are in a constant mode of transformation, permanently mobile, spatially in-between, affecting their surroundings.

Re-thinking the becomings of Deleuze and Guattari, and their feminist critiques, the works showcased are seen as calls to such processes. Becoming animal, becoming monster, becoming germinal, becoming machinic, becoming intense, becoming imperceptible.

Ultimately, Be Water Again focuses on assemblages, flows and tensions that produce a new social field, breaking the flow of one in relation to another. Entering into “perverse” alliances and creating new forms of connections with tech-others, the exhibition brings to the fore the politics of desire and pleasure of in-between identities, identifications and disidentifications. Distancing itself from the human, it detaches from the heteronormative and patriarchal hierarchies. It takes a closer look at the animals, the plants, the (desiring) machines and the microcosm, and tries to imagine a shift from an anthropocentric way of thinking to one that is tracing of associations with actors/actants that are considered non-human.

Curators:
Panos Giannikopoulos & Theodoulos Polyviou

Participating artists:
Eleni Bagaki, Maurizio Bongiovanni, Lito Kattou, Orestis Lazouras, George Henry Longly, Theo Michael, Petros Moris, Eleni Odysseos, Anastasia Pavlou, Theo Triantafyllidis

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