Did anyone else notice or was it just me? Seeing the PreMACO Monterrey 2020 program, I was struck by the number of exhibitions dedicated to reviewing female statements as well as the number of female artists. I couldn't help doing a detailed analysis and counting one-by-one the participants in each event of the program and it confirmed my suspicions: 50% of the artists were women. If we add the data of gallery owners and curators, the percentage of women was 48%.
It has always been perceived that the art scene has bee
¿Alguien más lo notó o solo yo? Al ver el programa de PreMACO Monterrey 2020, me llamó la atención la cantidad de exposiciones dedicadas a revisar posturas femeninas así como el número de artistas mujeres. No pude evitar hacer un análisis a detalle y contar uno por uno los participantes en cada evento del programa y confirmé mis sospechas: el 50% de los artistas fueron mujeres. Si sumamos el dato de galeristas y curadores el porcentaje de mujeres fue de 48%. (1)
Siempre se ha percibido que la escena del arte ha albergado y abierto las puertas a artistas hombres con más facilidad que a las mujeres. No sólo a nivel local, si no también a nivel nacional e internacional. En el 2019 por primera vez en la historia se logró la equidad de genero en los artistas participantes en la Bienal de Venecia: el 53% fueron mujeres.
ARTISTS: Amatoria / Cecilia Barón / Lucila Garza / Melissa García Aguirre / Pilar de la Fuente / Renard / Roble Ana María / Yolanda Leal
Photos by courtesy of Virginie Kastel and El Taller 3120
We’re facing the issue of women again. On the subject of the complications of being a woman, being born or not being born a woman, living as a woman, dying to be a woman, or being born in a woman's body. Each of these variants can be talked about at great length, but for now we will put them aside as I’d like to present a review of the exhibition NO SE NACE MUJER (One is not born a woman) inaugurated last Friday, January 17 at El Taller 3120 .
It’s important to note that the headquarters of the exhibition, El Taller 3120, is probably the least centralized independent art space in Monterrey. I mention it to recognize its convening power and give double credit to the place for attracting not only the usual public, but also the occa...
ARTISTAS: Amatoria / Cecilia Barón / Lucila Garza / Melissa García Aguirre / Pilar de la Fuente / Renard / Roble Ana María / Yolanda Leal
Fotografías cortesía de Virginie Kastel y El Taller 3120
Nos volvemos a enfrentar al tema de la mujer. Al tema de las complicaciones de ser mujer, nacer o no nacer mujer, vivir siendo mujer, morir por ser mujer, o nacer en cuerpo de mujer. Sin ignorar las profundidades a las que se puede llegar mientras se habla de cada una de estas variantes, pero sí haciéndolas a un lado por un momento, presento una reseña sobre la exposición NO SE NACE MUJER inaugurada el pasado viernes 17 de enero en el Taller3120.
Es importante destacar que la sede de la exposición, Taller3120 es probablemente el menos centralizado de los espacios independientes que tiene el arte el día de hoy en Monterrey. Es justo mencionarlo para reconocer el poder de convocatoria de la exposición y dar crédito doble al luga...
This January was the inauguration in Monterrey of the largest exhibition (so far) by Cardiff & Miller. The Canadian duo, who has worked together since 1995, has left for us spectators, 9 pieces charged with stimuli.
Though their work could fall under the umbrella of sound art, installation and/or sculpture, it would be more accurate to say that their art is unique in its style. It’s hard to categorize it. Sound is an essential part of their work, but so is lighting, the technology behind every piece and all the elements that make up every installation. It’s the synchronicity with which all of these elements interact what makes each piece function to perfection.
Every encounter with a piece by Janet and George demands an inevitable and forced silence that, for a moment, turns you into Sherlock Holmes as you dissect all its elements, trying to understand it and looking for clues as to what it is.
Pieces like Marionette Maker (2014) or Opera for a Small Room (2005) are filled with r...
Nicolás Paris was born in Colombia in 1977. Although he began his career in architecture, he decided to leave school to become a teacher at a rural school in the town of La Macarena, Colombia. Without any previous experience as a teacher, he developed new learning strategies for his students. This experience was so life changing that after finishing his time as a teacher, he decided to take control of his own learning process therefore leaving school for good. After working on several self managed educational projects, being part of the team that developed the educational model of the town La Macarena, and working in bakery, he decided to take on contemporary art. It’s been eleven years now since the day he decided to become an artist. In art, Nicolás has found the space to continue his research, development and experiments on different learning methods and the way we relate to each other. One has to know where Nicolás comes from in order to understand his interests and truly savour hi...