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Renata Petersen November, 2021
Renata Petersen November, 2021 Guadalajara, 1993 Lives and works in Guadalajara Her work addresses themes of religious and social character, not exempt from black humor. In the form of vignettes, with a close relationship to comics and cartoons, she produces satirical revisions to subjects with powerful repercussions in popular culture such as sects, urban legends, gender roles, contemporary sexuality, and the subjectivity implicit in “bad taste”. She has a particular interest in interweaving referential winks to works by artists such as Mike Kelley, Sarah Lucas, Raymond Pettibon or Kim Gordon, with her own obsession with pornography, eschatology, and hyper-consumerist trash TV, through a production linked to traditional Guadalajara’s artisan techniques, such as ceramics and blown glass. Renata Petersen studied a bachelor’s degree in Visual and Plastic Arts at Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda”, INBA (Mexico City), from 2013 to 2017. She has exhibited her work in solo and group shows at MUSA (Museo de las artes de la Universidad de Guadalajara) and Ladera Oeste (Guadalajara); Salón ACME, Ex Teresa Arte Actual, Museo del Palacio de Bellas Artes, and Museo de Cancillería (Mexico City). She has been resident of Fundación Casa Wabi, located in Oaxaca, and Taller Los Guayabos in Guadalajara. Her work is part of the collection of Marcela and José Noé Suro, and Alma Colectiva (Guadalajara); among others.
Renata Petersen Project selection November, 2021 Pequod Presents Daybreak Digest Pequod Co. presents for the first time a project by artist Renata Petersen in collaboration with Casa Habita. The artist intervened Casa Habita during Material artweek by exchanging all the toilet rolls of the building for personalized ones. The toilet roll that was placed instead of the original had the text PISS ON THE DAWN, MY LOVE IS DEAD written on each sheet. This text was repeated over and over again as a sort of eschatological mantra. The artist’s interest in making this piece lies in creating a kind of commentary/joke about the way art is consumed during the art week in Guadalajara. In this way, guests at Casa Habita (probably collectors, gallery owners and art lovers) who would have had art for breakfast, lunch, diner, and drinks, consequently, wiped their asses with it as well. The image produced by the text is that of a urinating at dawn, reminiscent of that evacuee after a long night of revelry where deep thoughts emerge, such as the fatal fate of certain romantic relationships. This piece is also a reference to James Joyce’s Ulysses, where the character Leopold Bloom experiences the deepest revelations or epiphanies while shitting. Thus, the stool functions as a space for meditation and contemplation, involuntary resulting in a space for the consumption of art. Before, during and after the guests have scrunched their bowels, they were able to share their interaction with the piece by reading a QR code. The code redirected them to the following page, where they could find information about the project, the artist and had access to an email to send their pictures. As a second stage, those interactions will be registered in the Pequod Presents section within Pequod Co.’s webpage.
Renata Petersen Project selection November, 2021
Daybreak Digest, 2021
Toilet roll with vegan ink
Renata Petersen Project selection November, 2021
Daybreak Digest, 2021
Toilet roll with vegan ink
Renata Petersen Project selection November, 2021 BOCCHINARA In Italian scoundrel (who is not?), Bocchinara is a term used to refer to a woman who shows a certain predilection for oral sex with male sex organs, that is, a specialist in the noble trade of handing out blowjobs. Often used as an insult – its masculine version is an ode to homophobia – this word is also a thermometer of a hidden puritanism and a ploy to ignore and abolish any hint of feminine desire, turning the fellatio into an entity incapable of enjoying, a simple instrument: the repository of a seminal humiliation. Renata Petersen’s work alludes to the polysemy of the term and subverts the moral burden assigned by a society that insists on seeing sex as a sort of vice tolerated only secretly, in nightgowns and with the lights out. Bocchinara then ceases to be a neutralizing tool of patriarchal society, a degrading stain, and becomes the liberating roar of those who understand that pleasure is not synonymous with guilt, that voice that names what modesty has tried to silence out of shame. The modesty, that crochet doily that we use as a permanent soul condom. Since burning people in public squares went out of fashion, modesty should have been banned as a social lubricant. Even punished. On the other hand, I can think of no greater public virtue (and consumer, it must be said) than to embody pleasure: to provoke it, to rejoice in it, to amplify it. In each of these pieces, peep-shows that take us back to the world of peep shows – the first democratizers of porn cinema and live sex shows – uninhabitable and lonely dildos, cities of fragile enjoyment, on the verge of collapse, Renata traps the spectator as a voyeur and, at the same time, subjects him to unfolding until he is placed as a dev. photo and exhibitionist. Thus, the prism through which we contemplate each scene ends up being a triptych of agonic desire well-adapted to our times: that of a triangular relationship of voyeuristic, liturgical and erotic complicity, always at a distance. A flood of eyes that inhabit the same apartment building without being able to blink closely, eyes looking at each other like sycicalyptic devices, acting as resonance chambers that amplify a ritual where each node of the network is, at the same time, subject of surveillance and vigilance, desiring machine and object of consumption. Because, just as the choice of materials – Talavera ceramics and glass – opens up a confrontational dialogue with tradition and mass production, the use of references linked to the erotic publishing industry of Mexico in the 1960s is not by chance either. In Bocchinara, Renata Petersen expands the hole of our miseries as much as that of our desires: We value, sell and buy our release mechanisms? How do we resist turning every fringe of pleasure into merchandise? Rodrigo Márquez Tizano
Renata Petersen Project selection November, 2021
BOCCHINARA, 2021
Installation view
LUIS Galería, Guadalajara,
Mexico
Renata Petersen Project selection November, 2021
BOCCHINARA, 2021
Installation view
LUIS Galería, Guadalajara,
Mexico
Renata Petersen Project selection November, 2021
Untitled (11-60), 2021
Glazed ceramics
15 cm (diameter)
Renata Petersen Project selection November, 2021
Untitled (51-60), 2021
Glazed ceramics
15 cm (diameter)Renata Petersen Project selection November, 2021
La fortaleza de cristal (cobalto),
2021
Blown glass and fuzed glass
80 x 53 x 28 cmRenata Petersen Project selection November, 2021 Fortress of solitude This piece continues the investigation Mike Kelley started on Kandoor cities before he committed suicide. Kandoor cities were these utopic gothic cities referenced in the Superman comics. I took the idea of the utopic cities and made it a postmodern hypersexualized, geometrical Shangri-La. The piece was shown in Instantánea, a show curated by Geovanna Ibarrra at the old Kodak Factory in Guadalajara. The installation was made up of eleven steelwork carts with glazed ceramic plaques and pieces.
Renata Petersen Project selection November, 2021
Fortaleza de la soledad, 2020
Installation view
Instantánea, Kodak Factory,
Guadalajara, MexicoRenata Petersen Project selection November, 2021
Fortaleza de la soledad, 2020
Installation view
Instantánea, Kodak Factory,
Guadalajara, MexicoRenata Petersen Project selection November, 2021
Fortaleza de la soledad, 2020
Glazed ceramic
Variable dimensionsRenata Petersen Project selection November, 2021 Doolittle Doolitle is an ongoing piece made up by 150 ceramic plates with variable dimensions and shapes. Each plate has a unique hand drawn design made by myself with cobalt glaze.
Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
30 cm (diameter)Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
32 cm (diameter)Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
22 cm (diameter)Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
30 cm (diameter)Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
30 cm (diameter)Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
36 cm (diameter)Renata Petersen Project selection November, 2021
Untitled, 2019
Ceramics with cobalt glazed
28 cm (diameter)Renata Petersen Project selection November, 2021
Doolittle , 2019Renata Petersen Project selection November, 2021 Mamá Barragán This show was made to exhibit the result of a two month residency program at the artist run space Taller Los Guayabos, located in the heart of Guadalajara. Bruno Gruppalli and I were the two artists in residency and we decided that what we had in common was that none of our work reflected on the modernist architectural movements that happened in Guadalajara. The bathroom cabin piece works as a structural parallelism between a confessional and a W.C. Also there is a series of drawings that work as a teenager poster room with Christian and punk motives as well as a “Girl in a miniskirt reading the bible outside my window” sign on the wall.
Renata Petersen Project selection November, 2021
All Good Children Go to Heaven,
2019
Sanirent, Indian ink, neon light,
plaster figures, mosaic and incense
231 x 119 x 110 cmRenata Petersen Project selection November, 2021
Mamá Barragán, 2019
Installation view
Taller Los Guayabos, GuadalajaraRenata Petersen Project selection November, 2021
Gods Whores (from the series Bad
drawings for bad people), 2016
Indian ink on cotton paper
35.43 x 27.56 inches
90 x 70 cmRenata Petersen Project selection November, 2021
Mamá Barragán, 2019
Installation view
Taller Los Guayabos, GuadalajaraRenata Petersen Project selection November, 2021 Limpieza karmática This body of work consists of 400 ceramic glazed units as a total: 150 Cloralex bottles and 250 Zote soap bars. The majority of the elements are modified as if they were crushed or used. Pieces are assembled as a whole piece. The piece is a homage to domestic workers since both products are very caracteristic of mexican house culture.
Renata Petersen Project selection November, 2021
Limpieza karmática at Silogismos
de la Construcción, 2019
Installation view
Studio Block M47,
Mexico CityRenata Petersen Project selection November, 2021
Limpieza karmática, 2019
Glazed ceramics
Variable dimensionsRenata Petersen Project selection November, 2021 Glory Days Glory Days was an installation that took place in a independent contemporary art space in Guadalajara (Mexico), called “Arter-ea galeria”. The installation consisted on two neon signs, 200 tuna cans, 300 cigarette butts and 40 plastic forks made out of Chinese por- celain and a drawing. The piece meant to illustrate the glory days of a hoarder who finds life or gives used containers a second chance. While doing this piece I worked with the same passion for the container as the hoarder would have, as if there was some sort of secret pleasure to give life to trash in a different and more elegant material. The piece glorifies what is normally seen as garbage, but could also be sort of a sanctuary/monument of human waste.
Renata Petersen Project selection November, 2021
Glory Days, 2017
Arter-ea galería,
GuadalajaraRenata Petersen Project selection November, 2021
Glory Days, 2017
Arter-ea galería,
GuadalajaraRenata Petersen Project selection November, 2021 Topografía de una conversación Topografía de una conversación was a project that took place as part of Petersen’s artist residency at MUSA (Museo de las artes de la Universidad de Guadalajara). The project started with hosting a dinner inside the museum where the visitors of the museum that day would be invited to participate in this happening. After the dinner took place, the residues of the meal were used to configure the show that was going to take place the next month. The stains on the table cloths and wine glasses were reinterpreted in different media as if they were a landscape of the conversation that took place in the museum with the visitors and the artist. Petersen had to work inside the museum for a month with what she called the footprints of a person in a very intimate space which is a dinner table, as if they were human vestiges of a day to day ritual.
Renata Petersen Project selection November, 2021
Topografía de una conversación,
2016
Installation view
Museo de las artes de la
Universidad de Guadalajara
MUSA, GuadalajaraRenata Petersen Project selection November, 2021
Bitratos, 2016
Wine glass and light installation
120 cm (diameter)Renata Petersen Project selection November, 2021
S1, 2016
Graphite on cotton paper
120 x 120 cmRenata Petersen CV November, 2021
Renata Petersen GROUP SHOWS pueblo, curated by Mario Ballesteros Bodega Acme, Salón ACME Fourth Edition
(Guadalajara, 1993) 2021 Museo del Palacio de Bellas Artes, Mexico at Proyecto público General Prim 32,
Vasijas/Vessels, Garage Dos Casas, San City, Mexico Mexico City, Mexico
STUDIES Miguel de Allende, Mexico
Bachelor in Plastic and Visual Arts, Escuela Mamá Barragán with Bruno Grupalli, Taller 2016
Nacional de Pintura, Escultura y Grabado CREADORXS, Salón Cosa Second Edition Los Guayabos, Guadalajara, Mexico Salón ACME at Proyectos Unidos
“La Esmeralda”, INBA, Mexico City, at Bellwort Hotel, Guadalajara, Mexico Mexicanos, Mexico City, Mexico
Mexico 2018
2020 Silogismos de la construcción, curated by 2013
SOLO SHOWS Otra vez, Ladera Oeste, Guadalajara, Alberto Ríos de la Rosa, StudioBlockM47, Volti al Cinema, via dei Corso, Firenze, Italy
2021 Mexico Mexico City, Mexico
Pequod Presents: Daybreak Digest, project Salón de la Pintura, Honorary mention for
presented in collaboration with Casa ¿Cómo lisiar un ruiseñor?, Otro espacio, UN-M2, WIT: Festival de arte, Galería painting Viste Amapolas, Galería Vértice,
Habita, Pequod Co., Estación Material, Guadalajara, Mexico Demetria, Guadalajara, Mexico Guadalajara, Mexico
Guadalajara, Mexico
Dependencia en un Poder superior, curated Bodega Acme, Salón ACME Fifth Edition at RESIDENCIES
BOCCHINARA, LUIS Galería, by Alma Saladin, Guadalajara 90210, Proyecto público General Prim 32, Mexico 2021, Artist residence, Cuadro 22, Chur,
Guadalajara, México Guadalajara, Mexico City, Mexico Switzerland
2017 Zona MACO, Guadalajara 90210, Mexico 2017 2019, Artist residence, Taller Los Guayabos,
Glory days, Arterea, Guadalajara, Mexico city, Mexico Quetzalcóatl, Museo Raul Anguiano, Guadalajara, Mexico
Guadalajara, Mexico
2016 Instantánea, curated by Geovana Ibarra, 2018, Summer residency program,
Topografía de una conversación, MUSA, Kodak old factory, Guadalajara, Mexico Recomendaciones mínimas para caminar Fundación Casa Wabi, Oaxaca, Mexico
Guadalajara, Mexico de espaldas, Ex Teresa Arte Actual, Mexico
2019 City, Mexico 2016, Artist residence, MUSA,
2015 Mercurio retrógrado, Guadalajara 90210, Guadalajara, Mexico
Osteoporosis, paisajes de la decadencia, Guadalajara, Mexico Plástica del Siglo XXI en la Colección
Galería Javier Arévalo, Guadalajara, MUSA, MUSA, Guadalajara, Mexico COLLECTIONS
Mexico Pop, Populista, Popular. El diseño del Marcela and José Noé Suro, Guadalajara,Renata Petersen CV November, 2021 Mexico Alma Colectiva, Guadalajara, Mexico OTHER ACTIVITIES 2018 Art coordinator, Cerámica Suro, Guadalajara, Mexico Professor for Course ”Visual Experimen- tation” for third semester students, Escuela Superior de Arquitectura y Artes, Guadala- jara, Mexico
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