Yutindudi visits Sala de espera

Sala de Espera inaugurates the first project of its fourth season with a takeover by Yutindudi. On this occasion, the space hosts two exhibitions:

• El viento del mundo hace un instrumento by Rolando Hernández Guzmán, Carlos Edelmiro, and Héctor Ramírez

El viento del mundo hace un instrumento is conceived as an exhibition and programmatic project that brings together an artistic residency, exhibitions, installations, sound activations, and a performative lecture to reflect on Mexican popular culture, media sensationalism, and the construction of collective memory. Drawing from real documents linked to emblematic episodes of spectacle and public controversy—such as the death certificate of Paco Stanley and the marriage certificate of Sergio Andrade and Aline Hernández—the project activates a device of expanded research in which archive, sound, performance, and recent history intertwine to question the spectacularization of private life, the mechanisms of information circulation, and the impact of tabloid journalism on social imaginaries. Deployed across different venues and formats, the project transforms Sala de Espera into a space for production, listening, and collective thinking, proposing a process-based experience that exceeds the traditional exhibition format and reveals how the media noise of the past continues to resonate in the present.

• Chintete presents: 1990–1999, a solo exhibition by Karla Partida

One of the most relevant conceptual artists currently living in Oaxaca, Karla Partida investigates the popular culture of the 1990s through archival images and critical approaches to the reality of that decade. This exhibition invites reflection on Mexican popular culture and its ties to media sensationalism. The central pieces—the death certificate of Paco Stanley and the marriage certificate of Sergio Andrade and Aline Hernández—represent critical moments of spectacle and controversy in Mexico, both immortalized and distorted by the tabloid press. These documents function as historical and symbolic artifacts of the media narrative that shapes public perception and collective memory. In the exhibition space, these works challenge the boundary between the intimate and the public, revealing how interest in the personal lives of celebrities becomes a reflection of our cultural obsessions, moral judgments, and fascination with scandal and morbid curiosity.

— Yutindudi

Yutindudi is an arts organization that approaches curating and research as artistic practices. Alongside its sister projects, Chintete and Cocina Hierbasanta, it promotes experiments in art, music and sound, dance, culture, and contemporary thought.

Chintete is an artistic and cultural project based in Oaxaca and Mexico City that defines itself as a “social sound sculpture.” Conceived as an independent platform, it brings together parties, concerts, dinners, and performative experiences in non-conventional spaces. Created with the intention of mediating between rural life, countercultural practices, and the contemporary art circuit, Chintete activates cantinas, courtyards, rooftops, and other venues outside the traditional concert hall format, expanding notions of where and how music is listened to, community is produced, and connections between different cultural scenes are formed.