Siembra began in February 2020 and has been nurtured by a diversity of artists, collectives and galleries that have presented projects in the seven independent and interconnected rooms in which the space is composed. The current situation led the gallery to harness the potential of the project to collaborate with more actors in the art community and contribute to keeping alive networks of dialogue and collective support.
Siembra's flexible and porous ecosystem expands during ZⓈONAMACO 2021 to welcome a multiplicity of voices from the community. This year, kurimanzutto participates in the fair with a new cycle that combines the individual projects of Bárbara Sánchez Kane, Damián Ortega, Minerva Cuevas and Wilfredo Prieto, to the proposals of the invited galleries, Galería Agustina Ferreyra, Llano, Salón Silicón and YOPE Project Space. In the patio of the gallery cohabit the contributions of Colectivo 1050º, the platform for the diffusion and sale of handicrafts Ūri, the ceramists Perla Valtierra and Taller 36 as well as the presence of Casa Bosques and kurimanzutto libros with a selection of art publications and other things.
Bárbara Sánchez-Kane presents Prêt-à-Patria in Siembra, a project that combines art with fashion in a video/performance and addresses the constructions of masculinity within the military system. The work consisted of a parade in which an escort and a war band marched in military attire and props designed by the artist. Sánchez-Kane's work revolves around the construction of identities based on gender and constantly questions the masculine and the feminine. Given the current pandemic situation that prevents the realization of public events, the artist decided to experiment with video, as it is an ideal format to crystallize the project and allows a collection to be approached in greater depth. The video is exhibited in the gallery along with the clothing worn by the escort.
Damián Ortega presents Jornada laboral in Siembra 20, a selection of embroidered works on canvas in which the artist reproduces certain elements from the covers of the newspaper La Jornada. He also shows a piece that resulted from a free embroidery exercise that the artist carried out while listening to a story. He transcribed the cadence and intensity of the narration in real time through a graphic and abstract language in which aspects of the story are translated, such as the rhythm in the variation of the accumulation of the thread.
In Utopista / quiauitl, Minerva Cuevas presents a collection of posters created over the past two decades for her presentation at Siembra 18, assembled together for the first time. Posters and murals, as mediums, have been fundamental means in her artistic and political practice throughout her career. Siembra 18 materializes a series of 22 serigraphs, graphics globally produced for various social contexts, that visually guide the observer through the investigations and constant concerns in her work. These include concepts of contemporary colonial relations, exploitation, nationalism, social ecology, militarism, and equality.
Wilfredo Prieto presents his Fake News project at Siembra 19. The series is comprised of paintings that are a result of a rigorous daily exercise entailing the artist’s close read of the national and international news. He then interprets the information (or misinformation) of that mornings’ media through painting, titling each with the headline that it is in response to. The process transforms the news into pictorial abstractions, whereby one representation of reality is translated into another.
The exhibition is updated daily with the five medium format works in response to the days headlines, operating at the same speed as broadcast news. Prieto applies the paint directly from tube to raw canvas, bypassing the intervention of other materials, that render painting in its purest form. Prieto’s abstract application of paint generates compositions that visualize the comprehension of reality - mired in emotion and experience.
For the third iteration of Galería Agustina Ferreyra exhibitions series at kurimanzutto, we are presenting the work of Ramiro Chaves (Argentina, 1979) and Ulrik López (Mexico, 1989). Both artists developed new bodies of work that operate as personal landscapes, intersecting with each other as ways of being with oneself, and other creatures, things and spaces, both physical and symbolic.
The work of Ulrik López (Mexico, 1989) employs systems and motifs used by certain fields that study human activity through material and cultural production, such as archaeology and anthropology, in order to investigate and address notions related to world-views, ritual, myth, craftsmanship, and the objects and characters that inhabit them.
On the other hand, the work of Ramiro Chaves (Argentina, 1979) subverts disciplinary barriers through the creation of images and objects using photography, drawing, painting, sculpture and visual poetry. His projects take place at the intersection between studio work, educational practice and documentation.
LLANO is a Mexican platform focused on artists whose production is based on long-term research processes and whose body of work is linked to science, history, technology, forgotten knowledge and invisible communities. LLANO focuses on processes of knowledge and research, creates links and promotes approaches and learning around the work, and seeks to dislocate the viewer by taking them beyond the everyday experience of traditional exhibition formats. LLANO presents a collective project with recent work by Mexican artists Lorena Ancona (Quintana Roo, 1981), María Sosa (Michoacán, 1985) and Tania Ximena (Hidalgo, 1985).
SEXtrauma is the third part of the Salón Silicón en Siembra project. SEXtrauma is wanting to be loved, being disappointed by romantic love, repression, sickness, getting old, an erotic memory that fills you with shame…
YOPE Project Space is a platform for the development of creative projects in the state of Oaxaca that seeks to break away from existing processes and canons in the history of Oaxacan art through collective curatorship; it prioritizes the participation of local, unpublished or young proposals and exhibitions. The space has hosted exhibitions of installation, painting, comics, sculpture, animation, drawing, has been part of sound art and video art activities, as well as tattoo parties and various workshops. It also has a network of graphic and sculpture workshops and a department for residencies in which national and international guest artists are hosted free of charge.
clay, ceramics, maque, books
Perla Valtierra is a brand that has been producing handmade ceramics in Mexico since 2010. Some of their products are unique designs handmade by Don Jesús Torres and his foundry editions. They work with local artisans using local clays and their own glazes. Each piece is fired at 1200ºC so it is strong, durable and unique in size, color and detail. Their designs are produced on demand, avoiding mass consumption and impersonal production. They are made for customers to connect, to give meaning back to everyday objects and to fill their tables and homes with exclusive objects.
ūri is a platform for the dissemination and sale of handicrafts created in Michoacán and northern Mexico. ūri was born out of the need to highlight the work of artisan workshops, the use of traditional techniques, as well as the story behind each object. ūri is also a production agency that seeks to generate dialogue between artisan workshops and artists, architects, designers, interior designers who need to produce pieces with high quality artisan techniques.
Taller 36 is a space for production, teaching and research of ceramics promoted by visual artist and ceramist from UNAM AND INBA, Marcela Calderón Bony. It was created 10 years ago in Mexico City and among its objectives is the desire to function as a link with the Alta Temperatura cooperative and with the artisans of the community of Patamban (Michoacán). Originally from a pottery village located in the Purepecha plateau, Marcela grew up influenced by clay and the knowledge of the artisans, which led her almost instinctively to choose the pottery trade. If anything distinguishes her work, it is precisely the use of a knowledge sedimented in the memory of generations of potters. She works with local materials such as red clay and engobes such as charanda or red earth. To make her pieces, she uses technical gestures such as flattening the clay with stone, making them with clay moulds and burnishing them with brushes made of donkey or squirrel's tail. Aditionally, she integrates the iconography of the region's nature and the country into her decorations.
Established in 2012, Casa Bosques is the first bookstore focused on independent publishers in Mexico. Its catalog covers a wide variety of disciplines, including art, architecture, design, photography, fashion, film, music and critical and art theory. There is an important selection work that goes beyond the conventional distribution channels in order to offer what we consider to be the most relevant of the national and international scene. Librería C.BB. also serves as a platform that actively supports and promotes projects and collaborations between different actors of the local and international scene: publishers, artists, photographers, etc., ranging from presentations of new publishing projects, to talks, book signings, performances and other activities.
Colectivo 1050º is a cooperative of potters from Oaxaca, Puebla and Chiapas. They create simple and elegant handmade clay objects that integrate the wisdom of tradition with the dynamism of innovation. The colours of 1050° are the colours of our land, of its rich geography of hills and slopes, of its flavours, smells and textures. They collaborate to create simple and elegant designs that unite the rural and indigenous world with urban modernity, the wisdom of tradition with the dynamism of innovation. They are part of Innovando la Tradición, a project of social design, fair trade, cultural development and community and personal transformation through the knowledge of the potter's craft.