Centro Cultural Chapultepec El Amate,
Cuernavaca, Morelos, MX
Sep 26th — Dic 30th, 2015
Centro Cultural Chapultepec El Amate,
Cuernavaca, Morelos, MX
Sep 26th — Dic 30th, 2015
Project supported by Fondo Nacional para la Cultura.
Misleading Appearances:
Photographic Explorations Through Mexican Photography, 2015
Museo Universitario del Chopo, México City
September 10 – December 13, 2015
Curated by Irving Dominguez
Project kindly supported by Fondo Nacional para la Cultura y las Artes and el Museo Universitario del Chopo.
Misleading Appearances:
Photographic Explorations Through Mexican Photography, 2015
Museo Universitario del Chopo, México City
September 10 – December 13, 2015
Curated by Irving Dominguez
Project kindly supported by Fondo Nacional para la Cultura y las Artes and el Museo Universitario del Chopo.
Project kindly supported by Fondo Nacional para la Cultura y las Artes and el Museo Universitario del Chopo.
XVI PHOTOGRAPHY BIENNALE – CENTRO DE LA IMAGEN
CURATED BY MAGNOLIA DE LA GARZA
2014 – 2015
Fototeca Nuevo León – Centro de las Artes Parque Fundidora
Monterrey, Nuevo León
November 21st, 2014 – February 22nd, 2015
Centro de la Imagen
México City, México
May 25th – August 16th, 2015
This survey of the 16th Photography Biennale centers on two points of discourse, the sculptural and the archival. The exhibition is articulated around two prize-winning entries, María María Acha-Kutscher’s Womankind and Fabiola Menchelli’s Constructions, as well as around three projects that received the jury’s honorable mention. Menchelli’s and Acha-Kutscher’s works are at opposite ends of the show’s main axis, which takes us on a journey from the relationship between photography and sculpture to the photographic use of archives.
The exhibition features several of the photography and video projects selected by the jury of the Biennale; it also includes certain works that were eliminated in the final selection, as well as one guest project. All of these works guide us and lead us to pose questions on the road from the sculptural to the archival in photography.
But the archive is also the construct that leads us to reconsider the photographic image, its uses and circulation. Everything from the recovery of public archives, or of private ones such as family albums, to their appropriation and manipulation implies that we reexamine our memories, while all this also establishes a new association with the past and leads to the creation of small monuments.
– Magnolia de la Garza
XVI PHOTOGRAPHY BIENNALE – CENTRO DE LA IMAGEN
CURATED BY MAGNOLIA DE LA GARZA
2014 – 2015
Fototeca Nuevo León – Centro de las Artes Parque Fundidora
Monterrey, Nuevo León
November 21st, 2014 – February 22nd, 2015
Centro de la Imagen
México City, México
May 25th – August 16th, 2015
This survey of the 16th Photography Biennale centers on two points of discourse, the sculptural and the archival. The exhibition is articulated around two prize-winning entries, María María Acha-Kutscher’s Womankind and Fabiola Menchelli’s Constructions, as well as around three projects that received the jury’s honorable mention. Menchelli’s and Acha-Kutscher’s works are at opposite ends of the show’s main axis, which takes us on a journey from the relationship between photography and sculpture to the photographic use of archives.
The exhibition features several of the photography and video projects selected by the jury of the Biennale; it also includes certain works that were eliminated in the final selection, as well as one guest project. All of these works guide us and lead us to pose questions on the road from the sculptural to the archival in photography.
But the archive is also the construct that leads us to reconsider the photographic image, its uses and circulation. Everything from the recovery of public archives, or of private ones such as family albums, to their appropriation and manipulation implies that we reexamine our memories, while all this also establishes a new association with the past and leads to the creation of small monuments.
– Magnolia de la Garza
XVI PHOTOGRAPHY BIENNALE – CENTRO DE LA IMAGEN
CURATED BY MAURICIO ALEJO
México
2014
MASIN Museo de Arte de Sinaloa
November 27th, 2014 – February 22nd, 2015
Centro Cultural Clavijero
March 13th – June 14th, 2015
Trying to find a common theme among artists as diverse as those featured in this 16th Photography Biennale is a daunting task, especially given that the exhibition entailed an open, countrywide call for submissions. But if not a common theme, there is a common way of approaching photography in all the works presented here, and it has to do with the weakening of the relationship between photography and reality.
All the artists featured here share an awareness that the truths put forth by photography do not belong to reality, but instead to a world that is constructed in images. This world is not interposed between us and reality, but rather has itself become real. The realization that the image has lost the ability to serve as a bridge to the “world” manifests itself in many of the pieces here as a growing opacity that reduces the depth of photographic representation and focuses our attention instead on the surface as a material and an object.
Though this opacity is not literal, it manifests itself in that it creates a tension on the surface, bringing visual or conceptual relations to the fore. Thus, access to the referent becomes secondary and one’s attention turns towards structure itself and the meanings or experiences it produces. This explains, among other things, why artists are increasingly dealing with photographic archives, which also appear in this show and function as an alternate universe—a legible one where collective and personal memory is encoded, and which can be reconfigured to produce other possibilities of experiencing the real.
In order to broaden the discussion, I decided to invite a few established artists with a solid body of work who have contributed lucid opinions to the understanding of photography. Thus I wish to thank Iñaki Bonillas, Jonathan Hernández and Diego Berruecos for participating, as their work has fostered a visual dialogue that contributes much to our understanding of this collective artistic concern.
– Mauricio Alejo
XVI PHOTOGRAPHY BIENNALE – CENTRO DE LA IMAGEN
CURATED BY MAURICIO ALEJO
México
2014
MASIN Museo de Arte de Sinaloa
November 27th, 2014 – February 22nd, 2015
Centro Cultural Clavijero
March 13th – June 14th, 2015
Trying to find a common theme among artists as diverse as those featured in this 16th Photography Biennale is a daunting task, especially given that the exhibition entailed an open, countrywide call for submissions. But if not a common theme, there is a common way of approaching photography in all the works presented here, and it has to do with the weakening of the relationship between photography and reality.
All the artists featured here share an awareness that the truths put forth by photography do not belong to reality, but instead to a world that is constructed in images. This world is not interposed between us and reality, but rather has itself become real. The realization that the image has lost the ability to serve as a bridge to the “world” manifests itself in many of the pieces here as a growing opacity that reduces the depth of photographic representation and focuses our attention instead on the surface as a material and an object.
Though this opacity is not literal, it manifests itself in that it creates a tension on the surface, bringing visual or conceptual relations to the fore. Thus, access to the referent becomes secondary and one’s attention turns towards structure itself and the meanings or experiences it produces. This explains, among other things, why artists are increasingly dealing with photographic archives, which also appear in this show and function as an alternate universe—a legible one where collective and personal memory is encoded, and which can be reconfigured to produce other possibilities of experiencing the real.
In order to broaden the discussion, I decided to invite a few established artists with a solid body of work who have contributed lucid opinions to the understanding of photography. Thus I wish to thank Iñaki Bonillas, Jonathan Hernández and Diego Berruecos for participating, as their work has fostered a visual dialogue that contributes much to our understanding of this collective artistic concern.
– Mauricio Alejo
Yautepec Gallery, México City
October 9 – December 10, 2014
My friends, I fear that architecture no longer has any place for us. Its axes are dull, its plans laid bare. Reality Properties, Fake Estates.
We should instead drink deep of the illusion of this world. The photograph is at least a reliably honest charlatan. In Spanish, one does not develop film as one develops realty, one reveals it. For realty is not reality, nor is reality provably real.
We construct upon realty with architecture but we construct reality behind our eyes. We reveal it. We remove the veil. We make it real. The universe may simply be a hologram, just as flat and illusion as the space which lies behind the surface of a photograph, a painting, or the screen on which you read this.
So let us stand confidently in this uncertainty, with no roof over our heads. Let us flee the misguided utopias of architects as we embrace the prototopia of the image, for the times they are a-changing, always and always faster.
– Brett W. Schultz
Yautepec Gallery, México City
October 9 – December 10, 2014
My friends, I fear that architecture no longer has any place for us. Its axes are dull, its plans laid bare. Reality Properties, Fake Estates.
We should instead drink deep of the illusion of this world. The photograph is at least a reliably honest charlatan. In Spanish, one does not develop film as one develops realty, one reveals it. For realty is not reality, nor is reality provably real.
We construct upon realty with architecture but we construct reality behind our eyes. We reveal it. We remove the veil. We make it real. The universe may simply be a hologram, just as flat and illusion as the space which lies behind the surface of a photograph, a painting, or the screen on which you read this.
So let us stand confidently in this uncertainty, with no roof over our heads. Let us flee the misguided utopias of architects as we embrace the prototopia of the image, for the times they are a-changing, always and always faster.
– Brett W. Schultz
Boston, 2013
April 23rd – May 4th, 2013
Boston, 2013
April 23rd – May 4th, 2013
