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5.00 m 3.00 m

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Sin título

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

135 x 90 cm

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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.

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5.00 m 3.00 m

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Untitled (Parque México)

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

70 x 93 cm

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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.

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Domestic Fine Arts: Quetzal & Emmanuel

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

135 x 90 cm

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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.

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5.00 m 3.00 m

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Restricted Areas: Monument to the Conquerors of the Space

Archival pigment print

2015
Ed. 6:

120 x 96 cm

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Restricted Areas (‘Zonas Restringidas’) ‘Áreas restringidas’ (2015), es una aproximación del impulso humano por la utopía y sobre nuestra búsqueda de la perfección a través del progreso tecnológico. Para realizar la serie, Tkachenko viajó a través de diversos países de la antigua URSS, en busca de lugares que utilizan para mantener una gran importancia a la idea de progreso tecnológico que ahora yacen desiertos. Han perdido su significado, junto con su ideología utópica, que hoy es obsoleta.

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Muros de frontera, Tijuana: La linea

2017
Triptych Ed. 3
Available in singles (Ed. 6)
Archival pigment print

290 x 79 cm

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Muros de frontera, Tijuana: La linea (2017 - ongoing). “Mexico’s Northern frontier is painful. The richest country on the globe meets an “underdeveloped” one. In 1846, the US Army invaded Mexico, ending with a final appropriation of half from its original territory, which moved the border to its actual position. During the XX century the efforts to shield the frontier begun and on this XXI century, Trump is determined to built a great wall from the Atlantic to the Pacific. The triptych from the Border’s Wall series: Tijuana —emblematic border’s city— runs over this story. Who is the owner of the land? Does the original inhabitants have rights?  Walls are able to shield a country?” Pablo Ortiz Monasterio. Mexico City, 2018.

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Muros de frontera, Tijuana: La linea

2017
Single Ed. 6
Archival pigment print

88.4 x 58 cm

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Muros de frontera, Tijuana: La linea (2017 - ongoing). “Mexico’s Northern frontier is painful. The richest country on the globe meets an “underdeveloped” one. In 1846, the US Army invaded Mexico, ending with a final appropriation of half from its original territory, which moved the border to its actual position. During the XX century the efforts to shield the frontier begun and on this XXI century, Trump is determined to built a great wall from the Atlantic to the Pacific. The triptych from the Border’s Wall series: Tijuana —emblematic border’s city— runs over this story. Who is the owner of the land? Does the original inhabitants have rights?  Walls are able to shield a country?” Pablo Ortiz Monasterio. Mexico City, 2018.

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5.00 m 3.00 m

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x

Muros de frontera, Tijuana: La linea

2017
Single Ed. 6
Archival pigment print

88.4 x 58 cm

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Muros de frontera, Tijuana: La linea (2017 - ongoing). “Mexico’s Northern frontier is painful. The richest country on the globe meets an “underdeveloped” one. In 1846, the US Army invaded Mexico, ending with a final appropriation of half from its original territory, which moved the border to its actual position. During the XX century the efforts to shield the frontier begun and on this XXI century, Trump is determined to built a great wall from the Atlantic to the Pacific. The triptych from the Border’s Wall series: Tijuana —emblematic border’s city— runs over this story. Who is the owner of the land? Does the original inhabitants have rights?  Walls are able to shield a country?” Pablo Ortiz Monasterio. Mexico City, 2018.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x

Muros de frontera, Tijuana: La linea

2017
Single Ed. 6
Archival pigment print

88.4 x 58 cm

More
View in Room
inquire

Muros de frontera, Tijuana: La linea (2017 - ongoing). “Mexico’s Northern frontier is painful. The richest country on the globe meets an “underdeveloped” one. In 1846, the US Army invaded Mexico, ending with a final appropriation of half from its original territory, which moved the border to its actual position. During the XX century the efforts to shield the frontier begun and on this XXI century, Trump is determined to built a great wall from the Atlantic to the Pacific. The triptych from the Border’s Wall series: Tijuana —emblematic border’s city— runs over this story. Who is the owner of the land? Does the original inhabitants have rights?  Walls are able to shield a country?” Pablo Ortiz Monasterio. Mexico City, 2018.

Por favor proporcione nombre y correo para información


5.00 m 3.00 m

Approximate view with unframed print. Ask for exact available dimensions

x