Twice Told Tales
Opening Reception: February 3rd, 2018 10 am - 1 pm
Through March 16th, 2018
Gallery Hours: 10 am - 6 pm Monday through Friday or by appointment only (firstname.lastname@example.org)
PEANA is delighted to present Twice Told Tales, a group exhibition organized in collaboration with Leo Marz, Monterrey based artist and curator.
This exhibition includes works by Jippies Asquerosos, Dulce Chacón, Pedro Noigandres, Pablo Rasgado, Melanie Smith and Marco Treviño. Twice-Told Tales is a journey through the work of a group of artists who resort to dismantling as a mean to rethink the ways in which images recall a fragmented present. Artists in this exhibition give a second skin to the narratives that order the chaos of the world through the imagery and, in doing so, reveal natural relationships and emphasize the power of editing and assemblage to generate new associations, new products and evidence previously hidden meanings. The six artists of this exhibition resort to pictorial tactics that can be understood as a means to slip through time and show us the reformulation of a series of instants in the present. Overall, the exhibition creates an archipelago of moments that become a continuous present. Urging us to reflect in materiality and its relationship to the construction of modern culture based on a processes that transforms as a consequence of a decaying past.
Jippies asquerosos is a curatorial project by Willy Kautz, whose starting point is to dilute the border between curatorial and artistic practice, by overflowing the production of works towards the assembly of exhibitions as a medium. Created in 2005, based on the concept of the super-sensible, these works seek to contrast the phenomenology of the work of art with the imaginaries of the psychedelic culture, art history and sensitive experience. The projects of the Jippies asquerosos are essays of sensory immersion, or, total montages articulated from the tensions between the mystical, reflective or trance experience in front of different critical frameworks extracted from political economy, aesthetics, ecology and history of art.
In this exhibition there are four stills of the Cinemarx animation, which present Karl Marx singing La internacional, the anthem of union between the workers and the socialist and communist parties, in an empty cinema. The background of this proposal consists in creating an experience of estrangement between the communist and capitalist imaginaries, as well as a short circuit between the figure of Santa Claus and Marx.
Dulce Chacón (Mexico, 1976)
Dulce lives and works in Mexico City. Her work profiles as an investigation in visual narratives that develop re-interpretations of past events, whose media record is used as a trigger for her drawing. The results are graphic reconstructions that approach the event, making a reflection between the representation of reality, multiple versions of the real and the imaginary.
Pedro Noigandres (UK 1967)
A prolific musician until the decade of the nineties, he eventually turned his career towards painting and took special interest in the relationship between this discipline and the passage of time. The ambiguous nature of his work, his constant nomadism and his elusive person, have hindered the registration of most of his artistic actions and practices. During the last few years, he started to redirect his work towards a systematic study and substantial production of painting, based on the recording of objects and a deep and complex reflection on the nature of the spectral and the detail in painting.
Pablo Rasgado (Mexico, 1984)
Rasgado reconfigures material from everyday life into new abstractions. Most of his work has been made from painted public walls, some extracted from busy city streets, others from temporary museum exhibitions. Some of the walls have political or social content, sometimes they simply contain an image that the artist wants to capture and present in a new way. By recovering the renaissance technique strappo, used to remove and transport frescos, Rasgado applies the layer extracted from the wall to the canvas. The result of this dislocation process, is a piece that challenges temporality and opens a conversation about realism and abstraction.
Melanie Smith (UK, 1964)
Melanie Smith has lived and worked in Mexico City since 1989, an experience that has enormously influenced her works ever since. Her work has been characterized by a certain re-reading of the formal and aesthetic categories of avant-garde and post-avant-garde movements, problematized at the sites and within the horizons of heterotopias.
PARALLAX is a four part split screen video projection originally recorded in Super 8. A diffusely painted neutral canvas takes up the entire space on the monitor screen and zooms out with increasing velocity. The viewer watches a cyclist who rides his bike on a country road towards the horizon. He falls down and then continues cycling. This is where the film ends and begins anew. Each screen shows the scene slightly time-delayed in a loop, alluding to (off) frame, circulation and its insertion in landscape.
Marco Treviño (Mexico, 1986)
Parallel to his academic experience, he co-founded the group "La Orgía" and worked as a resident curator within the Object Not Found project. At the end of his degree he also co-founded "La_Compañía", an independent initiative focused on the production, study and diffusion of contemporary art.
He was creator and coordinator of TADEO (Artistic Tactics of Occupation), a program to complement artistic education in collaboration of CONARTE and the Union of Plastic Arts of Nuevo León. Marco currently lives and works in Monterrey, Mx and serves as content coordinator for Lugar Común. He has exhibited his work in projects, exhibitions and festivals in Colombia, Spain, France, Italy and Switzerland, as well as in Mexican cultural venues such as MUCA Roma, Museo Universitario del Chopo, Transitio Festival in the Center of the Image, Biennial FEMSA, ESPAC, Center for the Arts and El Cuarto de Máquinas.