jaime@foro.space
(573) 043-2798
“The large site-specific installation conceived and developed by the artist for the exhibition at Waldegg Castle. In the backyard of the castle, in a space which is less representative and far humbler than the luxuriant Baroque front garden, Aguilar built a mound of 12 cubic meters of earth collected locally. He then planted an aluminum megaphone on top of it which he had previously painted in gold. The song played by the megaphone is Duerme Negrito (Sleep, little black one), interpreted by the soothing voice of singer MAR BOREAL (b. 1991 in Tegucigalpa, Honduras), who collaborated with Aguilar for the production of his installation. This popular Latin American lullaby finds its origin during the Spanish colonial period, when it was commonly sung by black women slaves working in the coffee plantation at the border between Colombia and Venezuela. The song, which was popularized in the mid-20th century by musicians Atahualpa Yupanqui and Mercedes Sosa, is still well-known throughout Latin America and in use to this day. With Lullaby, Aguilar is offering a theatrical and playful parody of the Spanish colonization and of the perpetration of its same methods in the context of a globalized capitalism. The physical presence of the relatively small mound of earth to symbolize the exploitation of natural resources and people in Latin America feels ironically small when compared to the grandeur of the Swiss Baroque castle. At the same time, the use of cheap gold paint to cover a mass-produced mega-phone serves as a poignant reminder of the gold stolen by the conquistadors and of its use in much European and colonial Baroque art.”
miguel@galeriaenriqueguerrero.com
(553) 222-6987
Gwladys Alonzo “melts” materials into organic bodies whose shapes are influenced by her daily walks. During these walks, she encounters various materials that she reappropriates to create highly vulnerable sculptures where the elements attempt to maintain their formal integrity. Alonzo employs materials traditionally used in classical sculpture such as metal, wax, concrete, marble and stone using unconventional and personal techniques.
francoisbucher@gmail.com
351-9015
The tesseract or hypercube is an expression of the multidimensional aspect of reality. It is a mathematical concept that virtually depicts the four-dimensional analogue of the cube. In other words, the tesseract bears a relationship to the cube equal to that which the cube bears to the square.
The concrete architectural representation of a tesseract is itself a “shadow” in the third dimension of something that occurs in the fourth dimension. The tesseract, in other words, is a form that presents the challenge of a dimensional leap for those of us who inhabit the third dimension.
nao@naobustamante.com
(646) 232-3104
Nao Bustamante and her hype man/interpreter Marcus Kuiland-Nazario, invite the public to help her learn Spanish in a live, interactive environment.
Many second or third-generation Latinx immigrants in California have lost their mother tongue, in a phenomenon common enough to have earned their own slang term, “Pocho/a.” Bustamante examines the cultural shame of not speaking Spanish in this participatory performance, in which other kinds of cultural exchange may also be explored as participants go through the process of teaching the language through conversation, giving tests, and making flashcards.
h.hectord.h@gmail.com
(624) 127-0303
“Sculptural composition based on vertical bodies that allude to the flora and fauna of Baja California.
Material: Green calcite, basalts, silicates and volcanic stone”
“Sculptural composition based on vertical bodies that allude to the flora and fauna of Baja California.
Material: Green calcite, basalts, silicates and volcanic stone”
info@colector.gallery
+51 1 818 0299 359
“In many cultures, the totem is a symbol of the caste to which one belongs and is also used as an amulet. However, its most interesting function is to constitute a kind of communicator or intermediary between humans and the divine. The higher, the more effective, like the apse of a church or the tower of a cathedral. It is a portal through which we can access the dimension of our gods. A totem is also a point of reference and has a foundational character. The place where it is located makes it the spiritual and physical axis of an entire area.
The totem seeks to dematerialize an object that is material by nature, transforming it into an empty container that becomes, at the same time, a metaphor for the spirit. Just as John Cage said that music is made of sound and silence, our physical world is made of solid and emptiness. Like the sculptures of Barbara Hepworth or Henry Moore, with those central holes that remind us of the existence of an interior space within ourselves; or the conceptualization of a cup for the Chinese, who stated that its most defining characteristic is the hole, the empty space, yet capable of being filled.
galetvanesa@gmail.com
+34 (069) 736-2111
* Vernacular, from the Latin vernaculus: 'born in one's house'.
* Greenhouse, from the Latin hibernaculum: 'covered place to protect plants from the cold'.
(IN)VERNACULO presents a myriad of temporalities and spatialities that become part of the nature in which they are displayed, being at the same time home and refuge, a place for play and reflection. Starting from an interest in theories about ecological relationality in the sense of an ecology of intimacies, the Silvar Collective rescues remains of traditional pottery from the Mediterranean coast and (re)integrates them into a new land, returning them in a symbolic exercise of repair and healing. The climate crisis, precariousness and the inter-species relational question are themes that hover over an installation that raises, through a counter-catastrophic imaginative effort, the urgency of a more self-reflective look at collective memory and shared territory. This exercise of respons-ability is also a performance about the significance of the materials and the processes of the earth itself, but also about the exile and diaspora of the beings that inhabit and adapt to the changes on the planet. It is, therefore, a metaphorical act of conservation, recovery and remembrance. The Silvar Collective fictionalizes a natural history that includes mourning for destruction and irreversible losses while building new shelters for a wounded blossoming. The dialogue it proposes between the artisan and the technological, the material territory and the virtual terrain, tradition and the future that is to come through the digital piece that accompanies the installation is therefore fundamental.
Using the fable and the intrinsic game of a playground, it traces a story by constructing a path whose tiles are the broken handles of traditional pottery jugs, vertebrae that direct the attention of the visitor-walker towards an allegorical fountain composed of other jugs that nature has already reconquered. This archaeological search for knowledge and memories of the world is guarded by a set of drinking fountains that refer to the rest necessary for the sustenance and collection of water of migratory birds called salmaya (a name of Arabic origin that means “salt water”). This stop on the path that every nomad makes to quench their thirst in the face of their uprooting is duplicated by the immersive central structure, replicating the shape of a breast or house that these drinking fountains present. Like a greenhouse or hothouse, its skeleton is made up of remains of demolition materials, suggesting a new recomposition of the fragmented memory of shelter and protection. (IN)VERNACULO is located on the El Patio site as memory is located on the most fragile level of thought, occupying the stratum that zones memory, always a servitude to a history. Zoning memory can mean producing it, modifying it or maintaining it. The division of space is thus also subordinated to the division of memory. (In)vernaculo then represents a repaired place.
fernanda@bajasmart.com
(555) 966-4227
The piece consists of two elements, the cubic structure and the industrial duct contained within it.
In this piece the artist seeks to explore the geometric structure of the cube and its similarity with the representation of the chemical structure of ceramics and its components.
In this work he talks about the composition of a body, the containment and the union of two points as the origin of creation.
It plays with the sense of empty space, giving a 360-degree visual tour exploring origin, change and transformation, as well as the static movement of a body.
Similarly, it seeks the expression of liberation and detachment as part of creation and the capacity for growth.
The piece is inspired by the molecular representation of matter, the imitation of industrial materials and the repetition of structures with the intention of raising awareness of the point where the origin and the end converge, giving life.
info@travesiacuatro.com
“Jose Dávila’s recent sculptural work refers to notions of balance and equilibrium, which are generated during the moment of withdrawal when two opposing forces that remained in conflict finally give way.
The artist seeks to extend this condition of precarious balance and indeterminacy by taking advantage of the natural arrangement of materials to be placed in relationships of correspondence, even though they may have contrasting properties and characteristics.
In the public context, these sculptures produce spatial experiences in which geometric language becomes a tangible and traversable dimension.”
info@anateresafernandez.com
(415) 823-3935
SHHH is an onomatopoeic term that needs no translation. SHHH is a response to how we are silencing vulnerable island and coastal cultures around the world. The ocean levels are predicted to rise 6 feet in the coming 30-50 years – forcing world-wide migration of small linguistic communities and the resulting extinction of over 7000 languages by the end of the century.
SHHH is as important a call to action for us to pay attention– to start to listen to our surroundings and in that silence begin to change our behaviors.
It will stand as a monument, a voice, a sign. The individual letters will stand 7 feet tall from the ground. Their facade will be covered with several hundred suspended 60mm sequins paillettes, like natural scales of an aquatic animal. The sequins will converse with the wind and light as they sway back and forth, in constant chatter with their surroundings.
miguel@galeriaenriqueguerrero.com
(553) 222-6987
The traveler is located in space and points towards the cardinal points. He has a very defined north and frames the sunset centered on the sun. He is always moving, he could be dancing or exercising. He is a reflection of his surroundings.
manueladelosangeles@gmail.com
(557) 370-3267
The Angle Garden consists of a series of metal sculptures with different angles. Its format is on a human scale, seeking to understand the abstraction of geometry in relation to the body itself. They are sculptures that are assembled on the ground and whose support depends on the balance of their own form and how their forces are exerted to hold themselves up.
info@colector.gallery
(818) 029-9359
Garrard's symbolic language intimately connects the internal with the universal.
Using a visual vocabulary that echoes sacred geometry and runic symbols, she distills complex scientific theories about the nature of reality and perception. Her diaphanous drawings and paintings reveal the inner structures of the things that surround us, while her sculptures, by contrast, possess a defined corporeality.
EP 21 | Ascension (Rust)
EP 22 | Parallel Worlds (Rust)
EP 23 | Intersection (Rust)
andrea@galeriaethra.com
(552) 909-6930
“Lee Gil Rae is a Korean artist born in Yeongam-gun in 1961. He graduated in sculpture from Kyung Hee University in 1993. He currently lives and works in Seoul.
For the past twenty years, Lee Gil Rae has used nature as a source of inspiration, creating intricate, organic tree-like sculptures in steel and copper, in response to ongoing deforestation, the depletion of natural resources and the environmental crisis. Her works consist of surreal, leafless trees with spiraling branches that are unnatural in structure but organic in aesthetic.
Lee Gil Rae has received several awards, including the Korean Art Critics Association Award in 2015 and the Special Prize of the 8th Korean Grand Art Exhibition in 1989. She has participated in numerous exhibitions around the world and is included in numerous private and public collections such as the Seoul Museum of Art, the Savina Museum of Contemporary Art in Seoul, the Samsung Foundation for Culture, the Four Seasons Hotel in Seoul and the Nampo Museum of Art in South Korea.”
communications@espaciocontinuo.co
(316) 741-3674
The work Muro en sal (Salt Wall) emerged in 2016 as part of the Labor project, which brought fundamental life processes into art. In it, I worked with the traditional peasant house of my paternal grandparents, in Espinal Tolima, Colombia. During the process, I noticed that the materiality of the wattle and daub walls, which built the walls, hid the memory of a task that is built by blows. I felt that the earth that sheltered the bodies, subjected to violence, needed a process of repair and transformation.
To achieve this, I replaced it with salt, an element that in popular Colombian use cleans and regenerates.
In the context of ABC Art Baja California, this salt wall is placed as an evocative presence that wishes to repair the memories of what divides with violence, to erect a porous wall - evidence of the constant transit of humidity, which sweats and emanates the manifestations of a living body.
juancguerrerosantos@gmail.com
(333) 201-8156
“SKY FRAGMENT was conceptualized in a residence in Oaxaca where the roof of the supply center was intervened (behind the plan there is a mountain).
Color tests were carried out on some Post-It notes, generating a reminder to go outside and see the sky.
“Site-specific installation composed of arbitration chairs, one facing the other, inviting you to climb up and interact with them, looking out at the horizon and passers-by from above, generating a moment of calm and distance.
The chairs invite viewers to merge into the chair markers, which were made of a reflective material, inviting interaction.
Composed of five chairs, four of them facing each other like the cardinal points, and the fifth chair looking at the horizon, the purpose of this gesture is to break the judgment, adding to the experience a moment of self-reflection, and referring to destiny and the fact that it depends on the spectator in the vast majority of cases incommensurable, just like the main theme of the exhibition, if we have life, we have destiny.”
arturohache@gmail.com
(551) 138-0689
SOUND INSTALLATION AND ACTION FOR 4 MEGAPHONES, FIELD RECORDINGS, APPARENTLY INERT OBJECTS AND CEMENT CASTING.
hello@galeria1204.com
(868) 125-8573
“Anomalía 02ST is a sculptural and installation proposal designed for a specific site. The piece works directly with the pre-existing architecture in Santa Terra to generate a reflection on the possibilities of the architectural object as a device for spatial-temporal deployments.
By thinking of the building as a space with the possibility of unfolding, an appearance of the building is proposed, but not in its entirety, but in its fragments. Pieces of the building materialize in sculptures that appear as specters in the various garden spaces and are lost among the natural landscape of the surroundings.”
studio@barrosur.com
(213) 324-2746
“Uncertain Provenance” presents a grouping of bottle or amphora like vessels offered as relics for appreciation or study rather than functional use; the artistic intent and identity of the maker shrouded in the loss of an original purpose for the vessels.
joshuajobb@gmail.com
Outdoor Stirrer Network, an abstract three-dimensional drawing made by joining together plastic coffee stirrers collected by the artist over time. These same artifacts are also the raw material for another series in which Jobb melts them and drops them onto the canvas, as if it were an abstract expressionist work.
In both cases, Jobb's fortuitous discoveries cease to be random and, in their repetition, try to tell a particular story, and not precisely that of the incessant consumption of a city that seems to refuse to rest. In Jobb's work, language also matters, and humor, especially humor. What implication do the materials in these works have in relation to the spaces explored? The artist answers: "Sometimes the idea arises suddenly, other times it is a constant exercise of paying attention to an object or context in which I find myself interested. In her own words: “About the series of “three-dimensional drawings” and “paintings” that belong to the Network of agitators, I can say the following: I was at the National University in Medellin for a series of video-art screenings to which I was invited by a friend-artist and before the screening began I decided to buy a coffee. As soon as I received it I turned around and found a group of students stirring the coffee that each one held in their hands at the same time, so I thought that they were the group of agitators from that university. From then on I decided that I would start joining the plastic sticks that I found on the street and thus begin to work on a series of works made from street agitators with the hope that the flesh-and-blood agitators would take my network as an example for a practice within everyday life that aims at its transformation.”
Tonathiu Lopez
infoginocchiogaleria@gmail.com
(624) 184-1206
Partly inspired by the shapes of the terrain, Katz, who has a long career in the world of animation and digital design, creates pieces digitally and then shapes them in different formats and techniques.
Limited edition pieces.
mycelliumbcs@gmail.com
(554) 449-5982
Walking on fragments of local stone, listening to sounds are part of living the experience of LIVING ON EARTH…
Intervention in a site and landscape in a palm grove near a stream, a paradisiacal place where walking on the local stone and earth tells us about Inhabiting the Earth, our Earth. How to inhabit this Earth and ourselves at the same time… Inhabiting and experiencing walking through a place, being… just being… sitting and listening to the water flow, watching the shadows, simply “being” when the world goes by so fast and we need a little time and peace.
The local stone, grey, green, red and pink flagstone from Todos Santos, speaks to us of time and memory, the passing of geological time.
Blue resin stones, with imprints of stones that have been duplicated and turned into pieces with arbitrarily artificial colors and a constellation of blue translucent resin stones between 3 palm trees, brings us closer to the cosmic and contrasts with the earthly.
mycelliumbcs@gmail.com
(554) 449-5982
“Gonzalo Lebrija addresses some unavoidable issues of the human condition: vital energy, pleasure, play and humor, celebration, the passage of time, twilight, death. His work is full of symbols with which he identifies, with which he has lived.
In this project he chose to present a life-size bronze sculpture of a vulture, a revered and feared animal, of great relevance in the Mexican cultural imagination since pre-Hispanic times, and which is commonly associated with the mystery and futility of life.
The sculpture of the vulture, which we are used to seeing flying from below, looking up at its shadow crossing the sky, will appear in this still landscape, as if suspended in time, and at a close distance, generating an interaction with the territory and its inhabitants.
Throughout his career, the artist has generated images and actions in which he returns to the concept of time. He plays and puts all his effort into slowing it down, giving more seconds to each minute, mocking a relative acceleration imposed by the power of the masses. At the same time, he makes us question the systems of value assignment in society and how these relate to different temporalities in magical-religious thought.
This project, like most of his recent productions, opens up to multiple emotional and intellectual readings, sometimes from the epic, other times from the subdued, almost always halfway between the spectacular and the contemplative.”
frenchdoors.events@gmail.com
(554) 925-7539
“For the ensemble “Los Jinetes”, Lenz created a sculpture inspired by the horsemen of the apocalypse using a logic-based system involving the use of mathematics and geometric principles to create intricate patterns and forms that represent the larger themes of the tale.
His approach involves using a fractal-based system to create a complex, repeating pattern that suggests the horsesmen riding across the landscape. Fractals are mathematical patterns that repeat at different scales, and they can be used to create organic, natural-looking forms that have a sense of complexity and depth.
Using a logic-based system involves a careful balance between aesthetic considerations and the symbolic representation of the themes of death, famine, war, and conquest. The result is a powerful and thought-provoking work of art that engages viewers on multiple levels.”
jaimelobatocardoso@hotmail.com
(55) 3233-9116
Aura(l) is a sculpture that shines on its own because it is made up of a bioluminescent microorganism, that is, it emits light naturally. This sculpture, in addition to producing light, produces a lot of oxygen, which is why it creates a space of well-being and regeneration where it is presented. A dialogue of ecological conciliation.
media@joselomaderista.com
(333) 800-7094
Playground TRP-15 aims to intervene in the space to enable a multipurpose play station for any user. It is made with solid woods of purple rose, walnut, parota and pine in the form of a slat.
fgiordana@rolfart.com.ar
(116) 092-6624
“The controlled erosion of surfaces as a means of geometric composition has physically, metaphorically, ritually and materially linked practices and elements that are part of the historical fabric of humanity.
This piece alludes, on the one hand, to the division and physical control of territories today and, on the other hand, to soil erosion caused by the continuous aggression against the environment, producing a material reflection based on experience.
It proposes, from the duo erosion-abstraction, to produce -live- the mark of the gesture of care that a single body can operate in a given space, intervening in different instances on the terrain.
info@ngartandgallery.com
(507) 264-8121
Archaeology of the Present
In recent years, my work has been linked to architecture and shapes. Lately, I have incorporated clay into some of my pieces, which I consider an element of fertility, life or creation.
The idea for this particular piece, Archaeology of the Present, was born out of loss – the loss of my mother – as I looked at the reddish, mud-like earth that had been laid out beside her coffin at the time of her burial, and the grave dug before I said goodbye to her.
Without stopping to talk about the pain or everything that was going through my mind, I lost myself observing the excavation, where they would put the coffin: It was a perfect rectangle! I saw it as a form of architecture to house the life that has passed on to the better.
I thought of a timeline that offered itself to talk about different things: memories, love, nostalgia. Digging deep into the well and finding yourself. Seeing yourself reflected in some way. This is where a second element comes in, the mirror line in the middle of the piece, when you look at it.
In the installation, my intention goes beyond the personal. More than finding answers to my experience, I would like those who pass through it, looking into the depth of the structure, finding their reflection, with the infinite, the sky behind them, to ask themselves questions, and to want to dig into their present, not into the irremediable, but into the life that exists in the here and now.
ricardo@rgrart.com
(552) 078-7722
“The proposal consists of an outdoor installation composed of 10 sculptural pieces (Veletas), which are inspired by the devices of the same name, (Veletas de viento).
The pieces are built from a vertical tubular structure crowned by weather vanes, which rotate freely depending on the direction of the wind.
Along the central structure extend metal arms with different objects at the ends:
•Obsidian mirrors
•Enclosure and tezontle spheres
•Snails poured from concrete
The weight of these arms is evenly distributed on each side of the pivot axis, so they can move freely depending on the interaction of the public.”
osoparadohappy@gmail.com
(612) 221-7874
“This work Homage to Desert Silence the Sonatas and Interludes, 4'33'' by John Cage and his passion for collecting mushrooms. this work is a walk listening to the sonata, under the influence of hallucinogenic mushrooms in the desert.
They are objects that I found in the desert during the psychedelic journey during 4'33''feedback loop sonata based on Zen Buddhism as Cage, 4'33'', musical composition by John Cage created in 1952 and first performed on August 29 of that year. It quickly became one of the most controversial musical works of the 20th century because it consisted of silence or, more precisely, ambient sound—what Cage called “the absence of intended sounds.”
tallerchullima@gmail.com
(535) 372-0977
“Three pyramid-shaped mountains approximately 4 meters high exhibit three types of sand: construction, desert and beach.
“Three Sands” is the confrontation between different materials and values, but similar in terms of morphology, dimensions and weight.”
sarasjegers@yahoo.com
(510) 292-6073
“My art lives on the crossroads of photography, painting, and printmaking.
My latest work explores the cyanotype (or 'blueprint') process: a historic, analog photo technique that produces impressions directly on paper or fabric (no camera involved).
My Baja art was born out of my fascination with the 'fan palm', a Baja native.
For ABC Art Baja, I work with life size palms in the Santa Terra gardens, resulting in large cyanotypes on cotton that capture the mystique of this emblematic palm.”
saulo@casa-bo.com
(553) 333-1976
ari@vigilgonzales.com
elvira@elvirasmeke.com
(555) 216-3921
Walking has been part of my practice for 10 years. Most of the time I go for a walk I go in search of a particular object: stones, shells, leaves, flowers, cardboard boxes or Styrofoam. These walks are recorded with my GPS and at the end, I review the drawing that was made, choose a fragment of it and use it as a base model to begin each of these sculptures. As I build the sculptures, they are formed or deformed organically.
Interventions on stones, installation resulting from a performance
On the table, EP47. Above EP48.
sales@galeriakaya.mx
(554) 343-0277
Quantum Cube is a 3D puzzle inspired by Soma Cube (1936). It's 7 pieces can be assembled in 240 ways. Each person's experience is unique: they can assemble/disassemble, challenge themselves, and see it as solid/hollow, positive/negative. It's an optical illusion too: 0.108m3 of material when the full volume is 0.216m3! This sculpture invites interaction and exploration.
contact.orfeolab@gmail.com
(320) 820-1644
Marika Tarot is a traveling performance installation. It seeks to adapt testimonies of trans and non-binary people to the Tarot to create an aesthetic experience through performance, iconography, music, symbolism, poetry and multidisciplinary artistic practices. The performance interprets the future and is divided into three three-hour movements: musical exploration, narration of paranormal experiences and interpretation of the Tarot with audience participation in exchange for body parts, valuable objects or monetary transactions.
marco@marcowalker.com
(323) 603-6058
'Aquarium now' is a surreal tribute to the rich aquatic history of the Sea of Cortez. As Jean Cousteau once said 'The Sea of Cortez in the aquarium of the world' The pipe symbolizes the human relationship to the sea with its history of attracting US celebrities who would come fishing in the 1950's, such as Bing Crosby. The threat of big fishing has always over shadowed the region. How long we can keep this aquarium is up to us.
christopherwyrick@yahoo.com
(706) 338-0548
This work addresses a number of themes including colonialism and consumer culture, but it is primarily about the loss of my father, who passed away last summer. He inspired me and my artwork in so many ways and one of the first was taking me to see the original Star Wars film in the theater as a young child.
Vader as a 'lost father' impacted me later in life. My father, Pete, was passionate about Mexico and he traveled here numerous times to photograph the people and the countryside. He introduced me to the work of the Mexican muralists; to the prehispanic work that inspired them, and also to his Mexican favorite beer: Bohemia.
The composition was born imagining the absurdity of a billboard with a frozen film still in the Baja desert. Both film and the billboard are very American modes of broadcast communication that could represent the challenge of cultural connection for expat Americans here in Baja California Sur.