Transurbaniac encircles the marrow, where the four humors compete for first place in logic, without winning it. It is the trance of a body that has been diagnosed as normal, despite outlandish symptoms and reports of distress.
It is the ratification of phenomena of urban dislocation that "alleviate" its vital circumstances (me and my circumstances, again) as much in a gymnastics of resignation, in escapes of all sorts (fortunately, still applying a good sense of humor and Dada), or in singular compromises that confirm political exercises, even for the simple fact of being an artist in Mexico today.
Transurbaniac is circular in contradiction. The result of a rudimentary but also complex certainty, even in its emphasis on reproach. Thus it is also a challenge.
It is a show that confirms that art is a collision of signs and a reflection of the times lived in cities today. A concentration of pleasures, definitions of individual existence, of the existence shared between two people (the memory of seductions), configuring familial coexistence (the inheritance of tastes), pondering coincidences. It is the materialization of illusions (or the opposite), spiritual victories, aesthetic wagers, terror, and the sterile dream of social groups before the impositions of the modern order and bankrupt institutionality.
Artists: Eduardo Abaroa, Georgina Bringas, Abraham Cruzvillegas, José Dávila, Roberto de la Torre, Pedro Friedeberg, Rubén Gutiérrez, Jerónimo Hagerman, Enrique Ježik, Gabriel Kuri, Gonzalo Lebrija, Ilán Lieberman, Enrique Metinides, David Miranda, Antonio O’Connell, Edgar Orlaineta, Ricardo Rendón, Jorge Reyes †, Tercerunquinto (Rolando Flores, Gabriel Cazares, y Julio Castro) y Pablo Vargas Lugo.
Curator: Guillermo Santamaina
Authors : José Luis Barrios, Daniel Garza Usabiaga, Ilán Lieberman, Oscar David López, David Miranda, Rubén Ortiz Torres y Jorge Reynoso Pohlenz
Language : Spanish & English