New Era: Untitled (Palm Tree)

2009 - 2014
Ed. 7 + 2 A.P.
Archival pigment print

More
View in Room
inquire

New Era (2009-14) suggests a fiction about a world where man passes spiritually taciturn ways in which predominates despair with the desire for liberation and transcendence. The series evokes the malaise of a society in which man is constantly faced with his own evil and overcomes their fears. The images evoke the metaphor of the spiral that renews what withers and blooms again and again, before a symbolic -and distant, quasi-futurist rebirth of man.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

José Luis Cuevas

Untitled (Circus)

2002 - 2007
Ed. of 1 Vintage
Gelatin silver print

More
View in Room
inquire

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

José Luis Cuevas

Untitled (Newsstand)

2002 - 2007
Ed. of 1 Vintage
Gelatin silver print

More
View in Room
inquire

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Pest Control: Railway TH 332

2015
Ed. 6 + 2 A.P.
Archival pigment print

More
View in Room
inquire

Pest Control (2015) El sociólogo francés Marc Augé acuñó en la década de los noventa el concepto de “no lugar” para definir aquellos espacios carentes de identidad en los que la comunicación se daba de manera más artificial. Se trataba de espacios como hoteles, aeropuertos, restaurantes que, en su condición de transitorios o efímeros, no podían considerarse “lugares”. Partiendo de esta idea y utilizando de forma satírica el miedo y la histeria colectivos, la autora realiza una representación ficcional de una ciudad plagada de pinchos anti-palomas. Con esta metáfora Franco Klein nos acerca a las relaciones fracturadas de la actualidad y a la repulsión generada por los medios hacia todo cuanto parece diferente en términos de ideología, etnia, religión o cualquier otro factor que puede amenazar nuestro “pacífico” modo de vida. Pest Control busca ser el reflejo de una soledad y contradicción propias de nuestros días como parte de la sociedad del espectáculo y logra representar visualmente la relación surrealista (o la falta de ella) entre los individuos, los espacios públicos y los nombrados no-lugares.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Domestic Fine Arts: Quetzal & Emmanuel

2008
Ed. 5 + 2 A.P.
Archival pigment print

More
View in Room
inquire

Domestic Fine Arts. Bajo el pseudónimo Domestic Fine Arts, Jésus Léon ha combinado fotografía, música y prácticas periodísticas por más de quince años. Su imaginario en el que muestra a ‘modelos’ posee no solo el glamour de una revista de moda, sino que permite personificar escenas profundamente románticas. En el trabajo de León Hernández, la intensidad de la propia vida se vuelve frágil y fugaz, para mostrar una versión oscura del amor, la oscuridad y la destrucción.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Untitled

2014
Ed. 5 + 2 A.P.
Archival pigment print

More
View in Room
inquire

Under the pseudonym and long-term project Domestic Fine Arts, León has combined photographic, musical and journalistic practices for fifteen years. His imagery, at times displaying models, does not only have the glamour of fashion magazines, much more they come to embody deeply romantic scenes. In León’s work, the intensity of life itself becomes fragile and fleeting, displaying a dark version of love and destruction.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Untitled (Parque México)

2017
Ed. 5 + 2 A.P.
Archival pigment print

More
View in Room
inquire

Under the pseudonym and long-term project Domestic Fine Arts, León has combined photographic, musical and journalistic practices for fifteen years. His imagery, at times displaying models, does not only have the glamour of fashion magazines, much more they come to embody deeply romantic scenes. In León’s work, the intensity of life itself becomes fragile and fleeting, displaying a dark version of love and destruction.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

PAUL MPAGI SEPUYA

Mirror Study

2016
Ed. 5
Archival pigment print

More
View in Room
inquire

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

PAUL MPAGI SEPUYA

Mirror Study for Joe

2017
Ed. 5
Archival pigment print

More
View in Room
inquire

Mirror Study ​(2017) Those works are part of ​“Figures, Grounds and Studies,” Paul Mpagi Sepuya current project which “lays bare an interdependent formal relationship between my gaze, the subject depicted and the viewer’s (or audience’s) presence within a history of eroticized and racialized photographic constructs.” Sep​uya extends beyond ​traditional studio portraits including photographs of photographs, arranging or ​collaging two-dimensional works with the material around him ; his work tends to be both abstract and representational. By working with his close circle of friends, ​he establishes the artist’s studio as a place where life and art intersect and let his aura appear, even when he stays behind the camera.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Dorine Potel

Endgame

2014
Ed. 7 + 2 A.P.
Archival pigment print

More
View in Room
inquire

Endgame (2014) Su título hace eco a la obra de teatro de Samuel Beckett: Final de Partida (escrita en 1957), donde a pesar de rehusarse a contar algo, la obra continua. El objeto nos remonta al universo festivo de las discotecas, esos mágicos sitios nocturnos (¡que son bastante macabros durante el día!). Primordialmente un soporte para la experimentación y prueba cierta materialidad, a imagen condensa literalmente distintos significados en uno, mediante una doble exposición invertida. Un pretexto para interpretar, contemplar y relacionar, pero prestos, antes de que la fiesta termine y fenezca.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

ELLIE DE VERDIER

2017
Ed. 3 + 2 A.P.
Archival giclée print

More
View in Room
inquire

En Soft no (2017), Ellie de Verdier usa tubos de ventilación como sujetos, employing sus inherent flexibilidad para crear situaciones de tensión y fascinación para el público que se coloca frente de esos coloridos part-individuos en potencia; híbridos entre animales, instrumentos técnicos o aparatos del cuerpo humano. Con esta serie, la artista propone una reflexión sobre “los desplazamientos sutiles, la intrínseca conformidad, y la atracción”, de esa manera nos cuestiona sobre lo que estamos viendo, interrogando indirectamente los modos de responsabilidad y de culpabilidad. Los ángulos a través cuales fotografía, crean una posible incomodidad y nos confrontan a nuestra relación con la imagen, con el sujeto - percibido entre pasivo y activo - así como a la condición fotográfica que describe el estado en cual vivimos.

Please provide name and email for information


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

 

 

Lendemains  (Group show)

For Material Art Fair 2018, ALMANAQUE presents an ensemble by a new generation of acclaimed artists using photography as the foundation of their artistic production whose works prowl a culture already based in the photo.

Color, staging, abstraction, texture-mimetic and materiality are the triggers to explore our current age determined by the abundance of images and their edges when they flee the screen becoming a print or even a sculpture.

In Lendemains, the fiction intertwines with the reality, with images that underline the metaphor of the apparition or the discovery, as clues of daily scenes that becomes blurrys, almost abstracts.

With works that describe a switch of scale between landscapes and details, as well as the movement of the matiere or the duplication of the image, it comes then to mind that we are witnessing the days following a possible encounter between fantasized universes.