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The majority of Candiani’s projects emerge from specific contexts, work situated with and from the community as a form of collaboration and participation. The artist conceptualizes territory through its social, political and cultural connotations, but also as the development of a place that allows us to perceive the resonance and rhythms of the bodies, customs and times of those who dwell therein. In this fashion, her work presents us with possibilities for the translation and conservation of the tradition and materiality of customs that constitute community, as reflected in Reverence (2019) or Conical (2016-2019). Tradition operates as a practice of shared codes that interrogate the interests and concerns of the society in which we live, such as the contemporary global problem of droughts and water exploitation addressed in Name the Water (2019) or Watershed (2022).

One of the primary axes of this exhibition is Candiani’s exploration of sound, its limits and transcriptions: What is that which forms part of the soundscape? To what do we listen? What is the frequency we hear as humans and which makes us exclude other species? And through soundscape ecology, as in For the Animals (2020), how do we situate ourselves in the acoustic relationship between living beings and the environment we inhabit?

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The idea of manufacturing and fabrication, the combination of the artisanal and the technological, runs through the exhibition. Candiani connects and resignifies knowledges, trades and times, serially threading together knowledge that intertwines with our experiences, as can be seen in Wooden Trumpets (2014) or The Grinding (2015-2022). The exploration of materialities—such as embroideries, wooden trumpets or stone carvings—thus speaks to the recuperation of this time of work, of trades, that resides in objects and the choreographies of labor that emerge from them, as in Four Industries (2020).

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This exhibition presents sculptures, paintings, drawings, visual installations and archival work that operate at the complex intersection of phonic, graphic, linguistic, symbolic and technological language systems. As part of the artist’s latest production, we will present Quantum Prelude (2022), in collaboration with Rogelio Sosa, a sound action for voices and instruments created ex profeso for the UNAM’s Sculptural Space. This piece explores the interconnections between the narrative of quantum physics, ancestral forms of Indigenous knowledge and their cosmovisions.


Artist: Tania Candiani (Mexico City, 1974)
Miembro del Sistema Nacional de Creadores del FONCA.

Curators: Jessica Berlanga, Virginia Roy