Omar Ibáñez | Francisco Muñoz

Galería RGR presents two exhibitions:

• Omar Ibáñez, Módulo de integración
• Francisco Muñoz, Paisaje ritual

In the first section of the gallery, Omar Ibáñez will present “Integration Module”. This exhibition features two types of pieces that share a similar articulation when employing a modular piece: a circumference of a circle with a diameter of 19.6 inches. The first kind is displayed on a wall that was constructed for this show, aiming to explore the integration of painting, sculpture and Architecture. Through Geometry, this synthesis leads to a perceptual phenomenon. The sets of plans, depth, volume, colors and shadows in each piece contribute to the transformation of the artwork in accordance to the spectator's transition and depend on the angle from which the wall is being observed. These architecturally resolved pieces count with certain parallels with plastic integration tradition present in art and modern constructions in Mexico. The second set of pieces shown in “Integration Module” also offers a synthesis exercise, although it is limited to the relationship between the painting and the transformable object. These works imply change through the spectator's interference - only that in this case there is manual manipulation. This set of pieces precedes the ones integrated to the wall.  The changes and variations among them demonstrate Ibañez´ interest to add questions and to complicate the geometric study in his production. (Curated by Daniel Garza-Usabiaga)

In the second section of the gallery, Francisco Muñoz will present “Ritual Landscape” revisiting a spatial integration concept aiming to formulate a situation of scenographic character in which two sets of pieces intervene. On one side, a series of round pieces relate to chimallis or pre-Hispanic shields. In each one of the paintings, Muñoz has searched for a sign in a limited four color palette and in a series of motifs that, even though reminiscent of Mesoamerican art, does not keep archeological considerations. In the logic of the series there is a substitution of elements in which, for example, acrylic takes the place of minerals or graphite of gold. With plastic solutions and titles derived from Archeology, he aims to appeal to preconceived notions in the spectator about cultures from the past and their material production. Something similar happens with the mounting of the pieces that could be related to topic images about temple representations or with traditional museography in an exhibit room of archeological objects. This appearance is reinforced with the presentation of the second set: four ceramic pieces that also appeal to the material culture of the past and to shared images, without pursuing a recreation nor a replica. In that sense, paintings and ceramics maintain a certain ambiguity like art objects that simultaneously refer to instruments - in this case, of a strong warlike character. (Curated by Daniel Garza-Usabiaga)

— Galería RGR