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Mauricio Limón March, 2022
Mauricio Limón March, 2022 Mexico City, 1979 Lives and works in Mexico City Mauricio Limón’s practice explores ethnological-urban interactions, sexuality, and power through long-term, open-ended, collaborative research that considers class struggle through the lens of psychoanalysis. For years, Limon has been closely involved with a group of peo- ple who inhabit social margins, improvise forms of living, work in public space, and often participate in marginal activities. Recognition, projection, and fantasy draw him to these subjects and the skills and knowledge they have developed from living at society’s edges. His work gives form to this iterative research through different media, including video, performance, painting, and installation. His work has been shown at Museo Universitario del Chopo, Museo Tamayo, Museo de Arte Carrillo Gil and Casa del Lago, Mexico City; Wild-Palms, Dusseldorf; Ellen de Brujine Projects, Amsterdam; Pinchuk Art Center, Kiev; KunstMuseum, Bonn; Y-Gallery, New York; San Francisco Art Institute; Centro de Arte Dos de Mayo (CA2M), Madrid; Art Rotterdam; Videonale.14, Bonn, among others. In recent years it has been included in public and private collections such as the Graphic Collection Department of the Kunstpalast, the Oehmen Collection, ESPAC, and Alain Servais Collection. He has curated shows at El cuarto de máquinas, Museo Experimental el Eco and Museo de Historia Natural, Mexico City; Centro de Arte Reina Sofía, Madrid. He was shortlisted for the Future Generation Art Prize by Victor Pinchuk Foundation, and awarded the Jóvenes Creadores del FONCA grant and the annual grant by Pollock-Krasner Foundation. He has been a resident artist in Fondation Fiminco; Cité international des arts, Paris; Casa Wabi, Puerto Escondido; Casa Gallina, Mexi- co City.
Mauricio Limón Project selection March, 2022 El primero que ría / The first one to laugh The first one to laugh is a solo show by Mexican artist Mauricio Limón de León. Ten years were necessary to gather works produced be- tween Mexico and Paris comprised by paintings, drawings, photos, videos, magazines and art installations. Mauricio Limón is inspired by the participation, discovery and the interpretation of the livelihood of a social group. While reminding us of the relevance of social practices within artistic creation, his fascination for human interaction and lived experiences links it to a social problem in the region of Iztapalapa, territorial demarcation located on eastern Mexico City. Drawing from casual encounters with some characters who lived between the boundaries of the urban and rural scenarios, the artist attains bonds, alliances and exchanges which took him to conduct a collaboration project and of multidisciplinary creation. Through the game, the laugh or the pun, the exchange dy- namics between human relationships are made visible. The look and gaze of each one of the characters are located within a complicit dynamic with the artist. As it can be seen from the portrait “El Flama”, his face features a past from which we can’t observe or recognize. It becomes an excercise of considerations, whose visions complement and challenge society. This exhibition is a pictorical and audiovisual tour at the gallery space of the Instituto Cultural de México of Paris. By means of land- scapes, cartography and portraits the artist presents the social, economic and psychological context of the characters’ day-to-day world such as “El Flama”, “La Doris”, “El Borrego” and “El Schuster”. This universe of experiences has been captured with various plastic and manual techniques, a particular sense of humor and an inexhaustible creativity typical of the actors. In this way, the exhibition The first one to laugh reflects different ways of looking at the world through interpersonal relationships, myths and reveries. Marco Calderón, Paris, June 2020 Translation by Pequod Co
Mauricio Limón Project selection March, 2022
El primero que ría (still), 2013
HD video
9:02 min
https://vimeo.com/187027537
Mauricio Limón Project selection March, 2022 Performing White Skin Started in 2019, the ongoing project entitled Performing White Skin is developed around a group of 27 hand-carved wooden poly- chrome masks inspired by the masking traditions of Mexican carnivals and religious festivals as well as African rituals, and the fate of these ritual objects in European collections. The project also invokes the terracotta busts of Honoré Daumier’s Célébrités du Juste Milieu, caricatures of July monarchy politicians, bankers, and aristocrats. The masks operate as sculptures and as objects activated in perfor- mances and videos. The video The Permutable Objectuality satirizes arrogance, social hierarchies, and demagoguery. It offers a parody of the art world’s excessive claims and political agendas. Sporting a somber suit, a colorfully-masked middle-aged “public intellectual” delivers a mono- logue about the object and its social implications on camera. A mirror behind him offers a sideways view onto his masked acolytes’ reac- tions to his soliloquy on economic policies, class struggle, and the production and circulation of new identities. The performance A Gigantic Broom to Uncover Compelling Narratives also presents a monologue about the object and its social impli- cations. The actor’s lecture-like soliloquy is punctuated by a group of performers’ intermezzos functioning as commentary, similar to the choir of Greek tragedy: reflections of astonishment and outrage. Combining rhetorical poses and improvisation on a sound track, these intermezzos produce a sort of choreography of the object and its role in the world of contemporary art. Sylvie Fortin
Mauricio Limón Project selection March, 2022
The Permutable Objectuality (still), 2019
Video HD
2:06 min
https://vimeo.com/410313186
Mauricio Limón Project selection March, 2022
Performing White Skin, 2019
Wood carved mask, oil, natural resins
and pigments
Approx. 38 x 24 x 16 cm each
Mauricio Limón Project selection March, 2022
Miss S and Mr. CH. Performing White
Skin, 2019
Wood carved mask, oil, natural resins
and pigments
Approx. 38 x 24 x 16 cm each
Mauricio Limón Project selection March, 2022
Mr. L. Performing White Skin, 2019
Performance rehearsal
Wood carved mask, oil, natural resins
and pigments
Approx. 38 x 24 x 16 cm each
Mauricio Limón Project selection March, 2022
Mr. J, Mr.L Mr. G. Performing White
Skin, 2019
Performance rehearsal
Wood carved mask, oil, natural resins
and pigments
Approx. 38 x 24 x 16 cm eachMauricio Limón Project selection March, 2022
A Gigantic Broom to Uncover Compel-
ling Narratives. Wrong Dress in Plumes,
2019
Performance at Art Rotterdam-AVL
Mundo “The performance show”
Full HD video excerpt: 0:49 min
https://vimeo.com/390161429Mauricio Limón Project selection March, 2022
Mr.J Performing White Skin, 2019
Wood carved mask, oil, natural resins
and
pigments
Approx. 38 x 24 x 16 cmMauricio Limón Project selection March, 2022 Buscando la sombra del ábol / Looking for the shade of the tree Mauricio Limón de León’s fascination with human experiences and interactions, as well as the complexity of personal and community relationship have led him to develop a lasting kinship with a community in the Iztapalapa neighborhood, east of Mexico City. The follow- ing images bear witness to this affiliation. Buscando la sombra del árbol, Is a long-term project; among ten years Limon has been working to complete large, precise and sensitive work on the lifestyle of a stigmatized social group in the suburbs of Mexico City. An iconoclastic aesthetic gaze oscillating between poetry and trash humor seems to be a key constant in Mauricio Limón’s work. Be- tween mockery and observation of the banal, the artist invites us to a social and human reflection according to his peregrinations in an identified urban space: Iztapalapa. Densely populated, this sensitive sector located east of Mexico City constitutes a distant, uncomfort- able and marginal enclave from a cartographic and social point of view. Its streets offer a landscape defined by asphalt, cement, rebar and plastic whose configuration has an air of chaos, conducive to creativity and improvisation. Interested in people with a marginalized lifestyle, such as street vendors, squeegees or the homeless, this project managed to integrate these isolated people in situations of personal or social fragility at the heart of his artistic process, by getting involved intensely and dura- bly with them. Through play, laughter or anger, a body of work makes them visible and reminds us of the importance of social practices in artistic creation.
Mauricio Limón Project selection March, 2022
El primero que ría / The first one to
laugh, 2012
HD Video
9:02 min / 16:9
https://vimeo.com/68917396Mauricio Limón Project selection March, 2022
Promesa prohibida / Promise prohibit-
ed, 2013-2014
HD Video
19:50 min/ 16:9
https://vimeo.com/187808161Mauricio Limón Project selection March, 2022
Doris, retrato del tiempo perdido / Por-
trait of the lost time, 2013
Oil and natural resins on canvas
100 x 80 cmMauricio Limón Project selection March, 2022
El flama, 2013
Oil and natural resins on canvas
140 x 80 cmMauricio Limón Project selection March, 2022
Política deportiva / Sports policy, 2014
HD Video
5:03 min / 16:9
https://vimeo.com/86809364Mauricio Limón Project selection March, 2022
Despojo de ideas previas / Disposses-
sion of previous ideas, 2014
Oil and natural resins on canvas
185 x 330 cmMauricio Limón Project selection March, 2022 Dientes rotos / Broken teeth The project is based on the motivations of two quite dissimilar groups of people that gather at the Alameda de Santa María La Ribera. The first is a more or less structured group of amateur dancers, and the latter are fans of boxing, who informally train those interested. Limón has enabled the interaction of these different dynamics, with the intent of merging boxing exercises with dancing languages. Thus, Limón approaches the human body as an instrument of subjectification. It presents the body as a revealing component of the dance of the inner world, where violence is released from what defines to the characters of this film. Such physicality will be the guiding line to tackle topics related to the individuals in this project— topics such as state of vulnerability, sense of belonging, interiorized violence, the activation of the public domain, sociability, and leisure, among others. Óscar Jesús, a boxer also known as “El Tierno,” Hannia, and the dancing group called Forasteros de la Salsa have contributed to the project’s process by doing the activities they enjoy most: boxing and dancing to popular music. Valuable contributions are that during the exchange of techniques between those disciplines, they had to come to certain agreements while confronting some challenges derived from the integration process. The core of the process is the interaction between “El Tierno” and Hannia: two individuals with strong per- sonalities, with very different, even opposing, life stories who share some common interests, mostly their love for dancing and their pas- sion for boxing. Dientes rotos / Broken teeth builds an audiovisual story that may reveal paradoxical and intertwining territories, based on the physicali- ty of boxing and dancing, violence and desire, personal stories and life projects, social insertion and physical identity.
Mauricio Limón Project selection March, 2022
Dientes rotos / Broken teeth (still), 2015
2 Channel video installation
4K Video
15:50 min
https://vimeo.com/202806406Mauricio Limón Project selection March, 2022
Dientes rotos / Broken teeth (still), 2015
2 Channel video installation
4K Video
15:50 minMauricio Limón Project selection March, 2022
Dientes rotos / Broken teeth (still), 2015
2 Channel video installation
4K Video
15:50 minMauricio Limón Project selection March, 2022
Dientes rotos / Broken teeth (still
image), 2015Mauricio Limón Project selection March, 2022 ¡Con todo el respeto que usted me merece! / With all the respect that you deserve me! Consisting of performances, videos, photographs, and oral histories, With all the Respect That You Deserve Me! is the result of 12 year artistic inquiry into the Arroyos, the family that popularized the cotton candy machine in Mexico. By focusing on this family as archive and subject, and by using cotton candy repeatedly, as material, performance, and process, Limón spins links between two artistic strate- gies that resonate strongly in Mexico: social transformation through ephemeral projects, and collaborative performance as a vehicle for social engagement.
Mauricio Limón Project selection March, 2022
And a big fellow too (¡Con todo el res-
peto que usted me merece! With all the
respect that you deserve me!), 2006
Cotton candy and fluorescent lamps
Variable measuresMauricio Limón Project selection March, 2022
And a big fellow too (¡Con todo el res-
peto que usted me merece! With all the
respect that you deserve me!), 2006
Cotton candy and fluorescent lamps
Variable measuresMauricio Limón Project selection March, 2022
Untitled ¡Con todo el respeto que usted
me merece! (With all the respect that you
deserve me!), 2006
Performance:
Approx. 20 minutes
Institute of Upper Middle Education
(IEMS), Iztapalapa, Mexico City
Performers: Alan García and Arnoldo
ArroyoMauricio Limón Project selection March, 2022
Cerniendo el azúcar / Sifting Sugar
(still), 2011
HD Video
9:15 min
https://vimeo.com/51462102Mauricio Limón Project selection March, 2022 A set of nonverbal fantasies By formulating the notion of “Non-verbal” Limón raises questions about the relationship between fantasy and language from a dialecti- cal perspective: When does fantasy detaches from language? How does language create fantasy? Through a symbology inspired by organs of pleasure, a set of nonverbal fantasies evokes a narrative that moves away from language structures and its formulas of interpretation. Using raw materials, such as henequén (sisal) clay, potassium alum, copal, volcanic stone and silicone, Limón reproduces a sort of genitalia or abstract pornography that seduces the gaze in various directions; from domesticity and privacy towards surplus enjoyment. This seduction is articulated by the contrast between formats and techniques – taking painting as a matrix – and its deconstruction into objects and rudimentary supports that shape fantasies and desire in containers of comfort.
Mauricio Limón Project selection March, 2022
Someshapesarepornsomeshapesarenot-
pornsomepornshapesarenotporn, 2017
Installation view, Rijksakademie OPEN,
Amsterdam
Henequen curtains, oil painting, silicon
shapes, volcanic stone molds, clay tiles,
wooden sticks, wooden platforms
Variable measures
HD Video, 5:05 minMauricio Limón Project selection March, 2022
Someshapesarepornsomeshapesarenot-
pornsomepornshapesarenotporn, 2017
Installation view, detailMauricio Limón Project selection March, 2022
Someshapesarepornsomeshapesarenot-
pornsomepornshapesarenotporn, 2017
Oil and natural resins on canvas
120 x 160 cmMauricio Limón Project selection March, 2022
A set of nonverbal fantasies, 2018
Exhibition view, Ellen de Bruijne Projects,
Amsterdam
Sisal curtains, Oil paintings, wooden
molds, red clay bricks, volcanic stone
molds
Variable measuresMauricio Limón Project selection March, 2022
A set of non verbal fantasies, 2018
Installation view: Producing red clay
bricks at Casa Wabi, Puerto Escondido,
MexicoMauricio Limón Project selection March, 2022 Pagará a la vista al portador / This Note Is Legal Tender... The project consists on a formal and symbolic subtraction made on Mexican currency, especially on bills of different denominations used in Mexico during the decade of 1980. The operation is simple: the figures of famous characters and all signs that appear on banknotes are erased, subtracted from the two-dimensional plane. What is left on this surface without iconographic references nor informative characters? Forms, lines, decorative patterns, strange landscapes and abstract compositions become the main components of an object, which, by losing its utilitarian character and its exchange value, is transformed into just an image; a mere representation. Paradoxically, what stays on the surface gives a glimpse of a series of factors which were before overshadowed by the presence of the elements now re- moved. With no national heroes and patriotic symbols this piece of paper is, simultaneously, a sharp tool of socio-political criticism and an anonymous and ephemeral artistic representation. When reproducing the decorative motifs which accompany the layout of this banknotes on painting and lithography we find scenarios that allude an idea of progress and industrialisation proper of modernism in some. In others, totally abstract compositions that emphasise the engravings in those bills and that allude different currents of geometrical and abstract art of the second half of the 20th Century. In a world defined by the circulation of material goods, it is normal to acknowledge ourselves in a format and a series of codes handed to us historically, even when these belong to an unknown currency system. How far does this perception of money and its value goes? What has happened during economical turmoils in which banknotes disappear or have to be replaced because of new monetary poli- tics? Limón feels that even banknotes that are out of circulation are part of a phenomenological experience human beings have with ob- jects. On the other hand, he sustains that these bills are a remnant of the Bilimbiques issued during the Mexican Revolution; a retrospec- tive look of the economical condition that has transformed life in Latin America until now. The project raises a subtle political criticism about the construction of national identity and the terrible management of public finances during decades. Remembering the existence of these banknotes signals the multiple economical crises Mexico has gone through in the last 30 years. It also questions the economical system prevailing globally nowadays; a model based on goods transformation into ab- stract and intangible value units. The origin of this operation is the creation of the idea of money, materialised in coins and bills. Víctor Palacios
Mauricio Limón Project selection March, 2022
Pagará a la vista al portador / This
Note Is Legal Tender..., 2017
Exhibition view Galeria Hilario Gal-
guera, Mexico CityMauricio Limón Project selection March, 2022
Pagará a la vista al portador / This
Note Is Legal Tender..., 2017
Exhibition view Galeria Hilario Gal-
guera, Mexico CityMauricio Limón Project selection March, 2022
20,000 pesos, 2016
Oil and natural resins on wood and li-
thography
30 x 70 cm each
Dipthych: 122 x 122 x 13 cmMauricio Limón Project selection March, 2022
500 pesos, 2016
Oil and natural resins on wood and li-
thography
30 x 70 cm each
Dipthych: 122 x 122 x 13 cmMauricio Limón CV March, 2022
Mauricio Limón de León A Set of Non Verbal Fantasies, Ellen de Divinatory Meanings, Vice Gallery, Mexico Ellen de Brujine Projects during Art Rotter-
(Mexico City, 1979) Brujine Projects, Amsterdam, The Nether- City, Mexico dam, Rotterdam, The Netherlands
lands
STUDIES 2010 Organismos articulados, Instituto Cultural
Bachelor in Visual Arts, Escuela Nacion- 2017 Squeegees, Laroche/Joncas (Projex-Mtl), de México en Alemania, Berlin, Germany
al de Artes Plásticas de la UNAM, Mexico The Soup Is Delicious, Rozenstraat – a rose Montréal, Canada 2008
City, Mexico is a rose is a rose, Amsterdam, The Nether- 2019
lands Psicotrópico, Galería Hilario Galguera, Sumatorio, Museo de Arte Carrillo Gil,
SOLO SHOWS Mexico City, Mexico 2006 Mexico City, Mexico
2022 Pagará la vista al portador, Galería Hilario
Les petits pois sont vertes... les petits pois- Galguera, Mexico City, Mexico And a Big Fellow Too, Trolebús / Galería, POPPOSITIONS, Art Brussels, Wild-Palms,
son rouges... a collaboration with Adriana Mexico City, Mexico Brussels, Belgium
Gonzalez Hulshof, Ellen de Bruijne Projects, 2014
Amsterdam, The Netherlands Promesa prohibida, Museo de Arte Carrillo GROUP SHOWS 2018
Gil, Mexico City, Mexico 2021 #núcleo, Galería Hilario Galguera, Mexico
2021 Trojan Taco, curated by Marisol Rodríguez, City, Mexico
El primero que ría, Instituto Cultural de Buscando la sombra del árbol, Galería Hi- Espacio Temporal, Pantin, France
México, Madrid, Spain lario Galguera, Mexico City, Mexico 2017
Pleins Feux!, Fondation Fiminco, Paris, Someshapesarepornsomeshapesarenot-
2020 2012 France pornsomeporshapesarenotporn, RIJKS
Le premier qui rira, Institut Culturel du Mex- Batiente.01 Un momento, DESACUERDO, OPEN, Rijksakademie, Amsterdam, The
ique, Paris, France Un principio, Casa del Lago, Mexico City, Hotel Simplon, Giulietta, Basel, Switzerland Netherlands
Mexico
2019 Printtemps, Fondation Fiminco, Paris, France 2016
Wrong Dress in Plumes of Smoke, Wild ¡Con todo el respeto que usted se merece!, Paradoks IDFA, Promise Prohibited, screen-
Palms, Dusseldorf, Germany Museo de los Pintores Oaxaqueños, Oaxa- Ablar ha defesios, hablar adefesios, defe- ing at Eye Museum, Amsterdam, The Neth-
ca, Mexico sios ablar ha, collective invocation by Víctor erlands
Dientes rotos, Museo Universitario del Cho- Palacios, Pequod Co., Mexico City, Mexico
po, Mexico City, Mexico 2011 Trust Comes On Foot and Leaves On Horse-
Versus-buscando la sombra del árbol, La- 2020 back, RIJKS OPEN, Rijksakademie, Amster-
2018 roche/Joncas, Montréal, Canada The Performance Show, AVL-Mundo and dam, The NetherlandsMauricio Limón CV March, 2022
Arte para la nación, Museo de la Secre- 2013 with Xavier Rodríguez), La MaMa La Galle- Diorámara, MUCA Roma, Mexico City,
taría de Hacienda y Crédito Público, Mexi- After the Object, Y Gallery, New York, USA ria, New York, USA Mexico
co City, Mexico
Confetti Make-up, Museo Universitario del An Exchange with Sol LeWitt, Massachus- Imperium / Kapitel 1: Qué VivaMéxico!,
Once (11), Espacio Monitor, Caracas, Ven- Chopo, Mexico City, Mexico setts Museum of Contemporary Art, North Galería Hilario Galguera, Leipzig, Germa-
ezuela Adams, USA ny
Mesocosmos, Museo de Arte Contemporá-
2015 neo de Monterrey MARCO, Monterrey, 2010 2008
Maíz. Ritual imprescindible, Jardín Botánico Mexico Disponible: A Kind of Mexican Show Phase Index (Pulsion), Galería Hilario Galguera,
UNAM, Mexico City, Mexico 1, Walter and McBean Galleries at San Mexico City, Mexico
Estocama, historias de Butades, Galería Francisco Art Institute, San Francisco, USA
Los justos desconocidos, Galería Hilario Metropolitana UAM, Mexico City, Mexico Electrochoc Festival, Rhóne, Alpes, France
Galguera, Mexico City, Mexico Extreme Painting, Projex-MTL Gallery,
Videonale.14 on Tour, Central House of Art- Montréal, Canada Detour. Moleskine, Printemps Design, Cen-
Todo por ver, Foto Museo Cuatro Caminos, ists, Moscow, Russia tre Pompidou, Paris, France
Mexico City, Mexico Fetiches críticos (in collaboration with Xavi-
Videonale.14, Kunstmuseum Bonn, Bonn, er Rodríguez), CA2M Centro de Artes Dos ZOOTROPO, Museo de Arte Moderno,
2014 Germany de Mayo, Madrid, Spain Mexico City, Mexico
21 Artist Shortlisted for the Future Gen-
eration Art Prize, PinchukArtCentre, Kiev, 2012 Draw, Museo de la Ciudad de México, LATINOLATINO, Fortino di Sant Antonio,
Ukraine Cosmopolitanism, Conduit Gallery, Dallas, Mexico City, Mexico Bari, Italy
USA
XVI Bienal Tamayo, Museo Tamayo, Mexi- 2009 Index (esperando a los bárbaros), Galería
co City, Mexico Lemexraum, Bristol Biennial, Bristol, United Lunes negro (in collaboration with Xavier Hilario Galguera, Mexico City, Mexico
Kingdom Rodríguez), Simposium Internacional de Te-
Index 4, Galería Hilario Galguera, Mexico oría de Arte Contemporáneo, Sur, sur, sur, 2007
City, Mexico 2011 sur, SITAC, Mexico City, Mexico Little Did He Know, Casa Luis Barragán,
Disponible: A Kind of Mexican Show, Mu- Mexico City, Mexico
Nocivos festines, Casa del Lago, Mexico seum of Fine Arts, Boston, USA Hecho en casa, Museo de Arte Moderno,
City, Mexico Mexico City, Mexico 35o Festival Internacional Cervantino,
Tracing the Unseen Border (in collaboration Guanajuato, MexicoMauricio Limón CV March, 2022
Suitcase Illuminated#5, P74 Center and neo, Guadalajara, Mexico PUBLIC COLLECTIONS CURATORIAL PROJECTS
Gallery, Ljubljana, Slovenia ESPAC, Mexico City, Mexico 2006 – 2008
RESIDENCIES Interviews for Celeste Magazine, Marcel
Musée de’art Contemporain du Val de 2020 – 2021, Foundation Fiminco Residen- Graphic Collection Department of the Kun- Dzama, Sean Landers, Bohnchang Koo,
Marne, Paris, France cy Program, Paris, France stpalast, Duesseldorf, Germany Sam Samore and Vik Muniz, Numbers
21/23/25/30/32
Video Arte Latinoamericano, IVAM, Valen- 2019, Cité International des Arts, Paris, Oehmen Collection, North Rhine Westpha-
cia, Spain France lia, Germany 2005
Coordination and video selection, Declara-
Glorieta, Ex Teresa Arte Actual, Mexico 2018, Residency program Fundación Casa OTHER ACTIVITIES ciones (curated by Guillermo Santamarina),
City, Mexico Wabi, Oaxaca, Mexico CURATORSHIP ARCO, Centro de Arte Reina Sofía, Madrid,
2018 Spain
2006 2016 – 2017, Residency Rijksakademie van Los efectos de la presión y la súbita expul-
Video DUMBO: México, D.U.M.B.O. Arts beeldende kunsten, Amsterdam, The Neth- sión, El cuarto de máquinas, Mexico City,
Center, Brooklyn, USA erlands Mexico
Distor, Museo de Arte Carrillo Gil, Mexico GRANTS & AWARDS 2006 – 2007
City, Mexico 2014, Future Generation Art Prize, Victor Monthly program of video exhibitions, Mu-
Pinchuk Foundation, Ukraine seo Experimental El Eco, Mexico City,
Come Closer, Espace Piano Noville, Gene- Mexico
ve, Switzerland 2011, Jóvenes Creadores, Fondo Nacional
para la Cultura y las Artes (FONCA), Mexi- 2006
2005 co In collaboration with Aldo Chaparro, We
Come Closer, Isola Art Center, Milán, Italia; are nothing but the nerds they say we are,
Künsterhaus Bethanjen, Berlin, Germany 2010, Annual Grant, Pollock-Krasner Foun- site-specific projects, Mexico
dation, New York, USA
Declaraciones (curatorial production), Cen- 2003 – 2004
tro de Arte Reina Sofía, Madrid, Spain 2002, X Bienal de Fotografía, Honoured In collaboration with Martí Manen and Joa-
Mention, Centro de la Imagen, Mexico City, quín Segura, MHN, 01/02/03, site-spe-
Recipes for Disaster (in collaboration with Mexico cific projects, Museo de Historia Natural,
Joaquín Segura), Arena Arte Contemporá- Mexico City, MexicoYou can also read
