How might we reimagine kurimanzutto after its 20 years of existence?
How can we propose a different way of experiencing time?
What place does the gallery occupy in the world, the country, and within each of the communities to which it belongs?
What permeates its surroundings and what will shape its future?
Art asks questions, it doesn’t give answers.
Siembra is an exhibition that started on February 2020 and will be extended as long as the current climate will permit. The gallery space is divided into seven rooms to be inhabited or articulated by different artists, projects and collectives, both from gallery roster and externally. The span of each project corresponds to their own creative process, not to an imposed calendar; all of them are independent and have no predetermined duration. The coincidences are woven just like sowing times in agriculture.
Siembra opens the gallery as a space of possibilities, a field in which time and space relate progressively, simultaneously, at different speeds. In it, cross pollination, thought cultivation and experiments in diversity converge to reach a possible harvest.
For Siembra, Abraham Cruzvillegas presents three brand new hanging sculptures built with materials that he took from works made throughout his career in museums and galleries around the world. To compose them, Cruzvillegas uses discarded everyday objects and materials found in situ, such as marine sponges, millstones, sheepskin or a mold for piloncillo. These objects that have their own biography and that have witnessed events, experiences and processes of the artist, are now presented in Siembra, gathered under a new configuration.
Gabriel Kuri presents in Siembra his project Statistical Cover Up, a sculptural exercise where a series of objects arranged along the wall occupy the entire length of the space in precise positions, creating a rhythm over an orange carpet. Among them there are objects that were found, manufactured, assembled, some are isolated and others in the immediate presence of variables of their type. These have been altered to a different extent and reveal a greater or lesser degree of specificity and mediation, some more crude and synthetic, others more defined in their function or brand.
Iñaki Bonillas presents Jazz Covers from the J.R. Plaza in Siembra, a series that explores the relationship between photographic language and design in the visual communication of jazz. The care in graphic design, the variety of abstract shapes, the rich color palette, and the authenticity and intimacy of the album covers from the late 1950s and 1960s fascinated Bonillas. Two decades ago, the artist inherited an enormous collection of photographs and personal material from his grandfather José Rodríguez Plaza. Among the documents in this archive is an extensive collection of self-portraits, where body language and image composition make him look like an attractive and charismatic icon or celebrity. Bonillas found resonances between the self-portraits and the photographs on the covers of these jazz albums. For the works he presents, the artist removes the text from the covers and replaced the photographs of the musicians with self-portraits by J.R. Plaza. By eliminating the text from the covers, Bonillas brings to the foreground the different visual elements of the composition and shows the influence of abstract art in their design.
Fernando Ortega presents Manicure for Siembra, a project with which he seeks to provoke a voluntary synaesthetic response based on color and music. Intervened photographs come from the artist's personal archive, in which he has accumulated still images of the hands of renowned musicians that he has extracted from videos of concerts and piano recitals. For this he draws on the expertise of manicurists, who are colorists by trade, and invites them to respond spontaneously and personally to a piece of music through color. As part of the process, each manicurist listens to a piece of piano music chosen by the artist and then select a nail polish color based on what the music elicits to, and applies it on a photograph of the concert they have just heard.
Alicia Ayanegui presents Shadow in my memory in Siembra, a pictorial series that investigates the darkness of the nocturnal twilight in which everyday objects and places seem to disappear due to the lack of light. The pieces evoke darkness as a metaphor of the memory in a misty and ephemeral appearance in which a figuration and abstraction coexist, built from a gestural stroke and synthetic drawing of the forms. In the dark, the shapes of objects fade, their outlines are fuzzy, the colors dim almost completely, and it seems that a layer of linear gray covers everything in its path. Ayanegui seeks to recreate this appearance pictorially and elaborates a study of the nuances that exist in the darkness of the night.
kurimanzutto presents a selection of drawings made by Jimmie Durham between 1989 and 2020 in Siembra. Enigmatic and apparently innocent or accidental, they move away from the illustrative intention of drawing as a medium in favor of a poetic exploration of drawing as a way of writing, or of writing as a drawing act, as well as the relationship between forms and concepts. The set of drawings encompass different types of gestures or operations on paper: interventions on old record sheets, texts that become scribbles, traces of objects covered in graphite thrown against a paper, abstractions on found documents, or unruly lines that pulse along a rulebook sheet for training engineering purposes. The found papers that he uses emanate temporal thickness and store stories, traces, memories or information that depend on their material support to continue existing in the world.
Feathered Changes, Serpent Disappearances presents an archaeological search for absence and a study in the gaps of memory. What role does chance—in the form of lapsed time, erosion, fragmentation, and human intervention—play in our subjective interpretation of history? By lingering on the unknown histories of artifacts, Deball underscores the effects of natural and social processes within archaeological narratives.
february 8, 2020
siembra 1: Haegue Yang—Dress Vehicle / Eclectic Totemic
siembra 2: Gabriel Orozco—Veladoras Arte Universal
siembra 3: Eduardo Abaroa—Collector’s Series
siembra 6: Dr. Lakra—Untitled
september 7, 2020
siembra 8: Pablo Soler Frost —Drawing Room
siembra 10: Sofía Táboas – Liminar
siembra 11: Carlos Amorales – Orgy of Narcisus
siembra 12 part 1: Miguel Calderón – Buenavista, Guerrero, abril 2020
siembra 13a: Salón Silicón – SEXplay
octubre 31, 2020
siembra 13b: Salón Silicón – SEXwork
siembra 14b: Galería Agustina Ferreyra – Ad Minoliti and Zadie Xa
november 28, 2020
siembra 12 part 2: Miguel Calderón – Amenaza Cocotera
siembra 15: Roberto Gil de Montes – Misfits
march 9, 2021
siembra 13c: Salón Silicón – SEXtrauma
siembra 17: Wilfredo Prieto – Pairless Socks
siembra 18: Minerva Cuevas – Utopista / quiauitl
april 10, 2021
siembra 19: Wilfredo Prieto – Fake News
april 27, 2021
siembra 20: Damián Ortega – Jornada Laboral
siembra 21: Bárbara Sánchez-Kane – Prêt-à-Patria
siembra 22: LLANO – Lorena Ancona, María Sosa y Tania Ximena
siembra 23: YOPE Project Space - Loma bonita
june 12, 2021
july 10, 2021
siembra 25: Dr. Lakra
august 21, 2021
siembra 26: Abraham Cruzvillegas - Rastrojo
siembra 27: Gabriel Kuri - Statistical Cover Up
siembra 29: Fernando Ortega - Manicure
siembra 30: Alicia Ayanegui - Shadow in my memory
siembra 31: Jimmie Durham - drawings