Material Art Fair
20 Million Mexicans Can’t Be Wrong
A series of roundtable conferences at Material Art Fair curated by Dorothée Dupuis with the support of Polina Stroganova
“20 Million Mexicans Can’t Be Wrong” was the title of a group show curated by Cuauhtemoc Medina at London’s South Gallery in 2002. Now more than ten years later, what’s left of the tacit prophecy implied in this title? Can the success of a curator like Medina, consecrated as much in Europe for his ability to curate large-scale events like Manifesta, as in his native land through his recent nomination as director of one of the most prominent institutions for contemporary art in Mexico City, the MUAC, mirror the fate of an entire scene? Has Mexico City finally succeeded in overcoming its post-colonial complexes and established itself as one of the key global art capitals? That’s what Dorothée Dupuis proposes to examine through this three-day roundtable conference series at Material Art Fair, featuring an impressive list of international panelists. The talks will take place in the main exhibition hall on Friday, Saturday, and Sunday beginning at 12 each day, for maximum conviviality.
Material Art Fair
The panel “Is Mexico City a New Berlin” reflects the constitution and development of artistic centers, such as Berlin and Mexico City. What makes these locations attractive in terms of artistic production and distribution? How do they promote themselves as such? And how can one differentiate between what is fact and what is myth within those hype-generating mechanisms?
Sophie Goltz lives and works in Berlin and Hamburg. Before taking on her current position of chief curator for art in public space in the city of Hamburg, Germany, she has been working as curator and head of public programs and publications at the Neuer Berliner Kunstverein (n.b.k.). Previously, Goltz has been operating as an independent curator and art educator, and for large scale exhibitions such as dOCUMENTA(11) and (12) (2002/2012), 3rd Berlin Biennale (2004), or Project Migration (2004-06). Her writing has appeared in numerous magazines and on-line publications including Texte zur Kunst, Art-agenda, Artforum and many others.
Chris Sharp is a writer and independent curator currently based in Mexico City, where he runs, with the artist Martin Soto Climent, the project space Lulu. He recently curated Stay in Love at Lisa Cooley and Laurel Gitlen galleries in New York, and is currently preparing the four part exhibition The Registry of Promise at the Fondazione Giuliani, Rome; Parc St. Léger, Pougues-les-eaux; Credac, Ivry; and De Vleeshal, Middelburg, as well as the 12th edition of the Swiss Sculpture Exhibition in Biel/Bienne, entitled Le Mouvement, which he will co-curate with Gianni Jetzer this coming summer. His writing has appeared in numerous magazines and on-line publications including Afterall, Fillip, Artforum, Kaleidoscope, Mousse, Art Review, Art-agenda, among many others.
Pedro Reyes is a Mexican artist born in 1972 in Mexico City, where he lives and works. His work addresses the interplay between physical and social space, making tangible the invisible geometry of our personal relationships and the cognitive contradictions of modern life. His work has been shown at South London Gallery; Museum of Contemporary Art, Chicago; the Aspen Art Museum, Colorado; the Reina Sofia, Madrid; Yvon Lambert Gallery, NewYork; the Jumex Collection, Mexico City; P.S.1, New York; Kunstwerke, Berlin; Museo-estudio Luis Barragan, Mexico City; the Kunsthalle Wien, Vienna; the Witte de With, Rotterdam; the Shanghai Bienniale; the Seattle Art Museum; the Venice Biennale, and the Carpenter Center for Visual Arts at Harvard University.
Polina Stroganova is a Mexico-based curator, writer and art consultant born in 1982 in Moscow, Russia. Over the last ten years she has been building up her experience in the art world as gallery director (Galerie Crone, Berlin; 401contemporary, London/Berlin), educator (dOCUMENTA(12), Kassel) and lecturer (Leuphana University, Lüneburg). After working in London, Hamburg and Berlin, she is currently developing independent projects in Mexico City including On what there might not be, a group exhibition at galería marso as well as Shift, a group show in conjunction with Produzentengalerie Hamburg.
Material Art Fair
This panel aims to consider the position of Mexico City within its broader region(s). What are current art-related problematics actually occurring in its close vicinity, such as the south of the United States, Central America, or the Caribbean? How do American and Europeans actors react to the development of these interregional exchanges that challenge the usual north/south power aspect of its relationship with both Latin America and United States?
Stefan Benchoam (Guatemala city, 1983) is an artist and curator. Solo shows include La piña, el swing y el chachachá, in collaboration with Radamés “Juni” Figueroa (La Casa Encendida, Madrid, 2013); A Fountain (White Cubicle Toilet Gallery, Londres, 2011); and Sin título (pa’ Puerto Rico) (La Loseta, San Juan, 2011), among other collective exhibitions in Latin American, United States and Europe. He is also cofounder of Proyectos Ultravioleta in Guatemala city, as well as of the Buró de Intervenciones Públicas with Christian Ochaita since 2007. In 2013, along with Jessica Kairé, he founded the Nuevo Museo de Arte Contemporáneo – NuMu – in Guatemala. As publisher, Como editor, Benchoam launched in 2011 with Rodrigo Fuentes the online publication Suelta, which aims to reduce the distance between art and contemporary literature in Latin American.
Albertine de Galbert (1980, Grenoble) lives and works in Paris, France. After working in public relations and audiovisual production, she made a year long research trip in Latin-America which convinced her to create the database Arte-sur.org, launched in 2011 at the Centre Pompidou. Meanwhile, she developed exhibition projects such as Extracto at Catherine Putman Gallery (2010), The Charcot Effect, by Voluspa Jarpa (2010), and group show Voyage Voyage (2012) at the Maison de l’Amérique latine in Paris. She is the french referent for La Fabrique des images, a residency program developed between Mexico and France by the IFAL in Mexico. Recently, she curated One Million Friends, Iván Argote at ADN Gallery in Barcelona, Artesur, Collective Fictions, a group show at the Palais de Tokyo (Paris), and La Distance Juste a collective exhibition at Galerie G-P&N. Vallois (Paris). This year, she will curate shows at La Maison de l’Amérique latine, MdM Gallery and Xippas gallery in Paris, and develop cooperation projects with Mexico, Argentina and Colombia.
Franklin Melendez is a writer and independent curator based in New York, NY. With a focus on the convergence of art and technology, he has developed special projects with numerous institutions, including the Berkeley Art Museum/ Pacific Film Archive. He has curated and co-¬‐curated performances, events and exhibitions at numerous international spaces, most recently the multi-site show, Re-¬Materialized, Paris & New York. In addition to artist monographs and exhibition catalogs, he is a regular contributor to publications such as Artforum, Frieze, L’Officiel Art and Vogue Japan, amongst others.
Dorothée Dupuis is a french curator, author and publisher born in 1980 and based between France and Mexico City. Trained at the Centre Pompidou, cofounder of Le Commissariat in 2006 in Paris, she was the director of Triangle France in Marseille from 2007 until 2012. A dedicated feminist, she is co-director of the magazine Petunia. Recent projects include : Dewar & Gicquel (Prix Marcel Duchamp 2012) at the Centre Pompidou (2013) ; Pro-choice at Kunsthalle Freiburg, Switzerland, curated with Petunia (2013) ; Momentum ? May be it’s time… also with Petunia at PSM Gallery in Berlin (2014). She recently created Terremoto.mx, a blog about contemporary art in the broader Central/North American region. Her writings have appeared in numerous exhibition catalogues as well as art publications such as Spike, Metropolis M, Mousse, Kaleidoscope, ArtReview, among others.
Material Art Fair
The term “Latin American Artist” remains widely used when it comes to qualify an art produced by artists in the Latin American continent or by its expatriate citizens or descendants. It obviously disregards wide differences that exist between the individuals creating work within this generic assignation. This panel thus aims to dissect critically the very project implied by this term within the current global art context, through an historical, social and political perspective.
Pia Camil (Mexico City, 1980) received her BA from The Rhode Island School of Design in 2003 and her MFA from The Slade School of Fine Art in 2008. Her solo exhibitions include Espectacular Telón at Sultana Gallery, Paris (2013), Cuadrado Negro at the Basque museum-center of contemporary art in Spain (2013), and El Resplandor at OMR projects, Mexico City (2009). Recent group shows include Draft Urbanism, Bienal of the Americas, Denver (2013), No A Trio A, La Casa Encendida, Madrid (2013), El Grito, MUSAC, León y Castilla (2011), and El Resplandor, Museo Experimental El Eco, Mexico City (2010). Her work has been shown in Mexico, Colombia, France and the U.S. Camil’s work is in the permanent collection of La Colección Jumex, la Colección Patricia Phelps de Cisneros and the Wattis Museum amongst others.
Natalia Valencia (Bogotá, 1984) is a freelance curator and writer. She curated shows in the Palais de Tokyo in Paris (2013), Sala de Arte Público Siqueiros in México DF (2011), L’appartement 22 in Marroco (2013), Museo Quinta de Bolívar in Bogotá (2011), Proyectos Ultravioleta in Guatemala (2010). She worked as researcher for the Centre Pompidou in Paris and for Universidad de los Andes in Bogotá. Her current projects include a show for the Mathaf in Doha, Qatar, with colombian artist François Bucher, as well as an artistic program for the Museo de La Plata in Taxco, México. She wrote for Kaleidoscope and la Triennale de Paris, among others.
Arturo Hernández Alcázar (Mexico city, 1978) studied in La Esmeralda (1996-2001) and participated in seminars at the Facultad de Filosofía at the UNAM (1996-1998). He collaborated to independent projects and exhibited in spaces like Casa Emergente, Laalvaca, Noordkaap, Ignacio Mejía, Temporary Home, Bordermates, Academia de Dusseldorf and Am_phoenix. His work was shown in museums and galleries on an international level, among which the 5th edition of the Bienal de Moscú, 10th edition of the Istanbul Biennial, MUAC, San Francisco Art Institute, Fine Arts Museum de Boston, Museo Amparo, Musée d’Art Moderne de París, Galería Nuble, Galerie Dukan, Vadehra Art Gallery in New Dehli, India. He is part of the editorial committee of the Revista Meteorito and the Editorial Ocaso.
Daniel Montero Fayad has obtained his phD in Art History with honors from the Universidad Nacional Autónoma de México. He taught in various renown educative institutions and has assisted as a researcher on many curatorial projects. He has also published many essays, reviews and texts in magazines such as La Tempestad, Código and art catalogues in Colombia, México and the United States. His research focuses on the understanding of art in relation to politics and economy in the current global and neoliberal context. He is actually researcher and academic coordinator en el extended campus del MUAC.