Mexican Pavilion, Mexico at Venice Biennale of Art - Arsenale, Castello - City of Venice
Exhibition in progress from April 23rd to November 27th 2022
The 59th Biennale Arte will open to the public on 23 April. But on the 20th, 21st and 22nd there will be the various openings and collateral events that always suddenly animate the Venetian artistic life. The awards ceremony will take place on the day of the opening to the public.
The title of the 59th edition of the Biennale d'Arte is Il Latte dei Sogni that means The Milk of Dreams.
The invited artists are 213 from 58 countries. There are 26 Italian artists, 180 the first participations in the International Exhibition, 1433 the works and objects on display, 80 new productions.
In all, 80 nations will participate in the Venice Biennale in the pavilions at the Giardini, the Arsenale and in the historic center of Venice.
Go to the page of the 59th Venice Art Biennale
Mexican Pavilion, Mexico at 59th Biennale Arte of Venice
The title of the exhibition at the Mexican Pavilion is Hasta que los cantos broten.
Artists: Mariana Castillo Deball, Naomi Rincón Gallardo, Fernando Palma Rodríguez y Santiago Borja
Curators: Catalina Lozano y Mauricio Marcin
Seat: Mexican Pavilion, Arsenale - Venice
Press Release of Mexican Pavilion
The National Institute of Fine Arts and Literature (INBAL), which is part of the Ministry of
Culture of the Government of Mexico, announces the project that will represent our
country in the 59th Venice International Art Biennale. The exhibition entitled Until the
Songs Spring, will take place at the Mexican Pavilion, from April 23 to November 27, 2022.
Under the curatorship of Catalina Lozano and Mauricio Marcin, this proposal offers a
collective approach, from a decolonial perspective, reflecting on worldviews, technologies,
territories, and the reconfiguration of gender subjectivities. The artists Mariana Castillo
Deball, Naomi Rinc�n Gallardo, Fernando Palma Rodr�guez and Santiago Borja Charles,
offer allegories to imagine a coexistence based on complex relationships of reciprocity
and respect. To construct a paradigm that addresses the mystery of regenerative
coexistence of the most heterogeneous cultures, and not that of the exclusion of other
living beings, both human and non-human.
Until the Songs Spring proposes to look at the ways that artists of different generations
approach forms of knowledge that have not been colonized by the modern episteme,
existing in resistance, and actualizing themselves to affirm opposite and alternate ways of
life to the anthropocentric vision modeled by the univocal and unambiguous principle of
progress. Under the decolonial perspective shared by the four artists in the project, their
research offers a diverse vision of the thematic practices and conceptual matrices that
characterize the contemporary art scene in Mexico today.
The invited jury that selected this curatorial proposal was comprised of: Carmen Cuenca,
executive director of INSITE; Amanda de la Garza, general director of the University
Museum of Contemporary Art and the Visual Arts Department, of the National
Autonomous University of Mexico; Pablo Le�n de la Barra, Curator at Large, Latin America
at the Salomon R. Guggenheim Museum and Foundation, Patricia Sloane, independent
curator and member of the Patronato de Arte Contempor�neo, AC; and Dr. Lucina
Jim�nez, general director of INBAL.
For this edition, the National Institute of Fine Arts and Literature decided to modify the
participation guidelines, based on criteria that would allow moving from an individual
proposal, towards a sense of dialogue and greater collectivity, promoting
intergenerational dialogue, with gender perspective, and to consider an interdisciplinary
approach, in order to make visible the diversity of the Mexican artistic ecosystem, taking
into consideration the viability and significance of the projects in relation to the current
context.
The jury highlighted that for the selection of the joint proposal by Lozano and Marcin,
Until the Songs Spring, raises current and timely problems not only in a global context,
but also in the local one; juxtaposes and, in turn, promotes dialogue between cultures
around necessary and urgent issues to be addressed in their own complexity.
INBAL maintains its commitment so that Mexican audiences know the proposal that will
be presented in Venice, for which it will launch a public program on digital platforms to
offer a context of the reflections raised through the work of the artists that are present in
our national pavilion. After its exhibition in Venice, the show will begin a tour in different
venues in the country.
Curators:
Catalina Lozano (Bogot�, 1979) is an independent curator and researcher based in
Mexico City. For the past 10 years, she has been interested in minor narratives that
question hegemonic forms of knowledge. The analyses of colonial narratives as well as the
deconstruction of the modern division between nature and culture have acted as
departure points for many of her recent and future curatorial and editorial projects
including the exhibitions A Natural History of Ruins (Piv�, S�o Paulo, 2021), The willow sees
the heron�s image upside down (TEA, Tenerife, 2020), Le jour des esprits et notre nuit
(CRAC Alsace, Altkirch, 2019, co-curated with Elfi Turpin), Winning by Losing
(CentroCentro, Madrid, 2019), Ce qui ne sert pas s�oublie (CAPC, Bordeaux, 2015), A
Machine Desires Instruction as a Garden Desires Discipline (MARCO Vigo, FRAC Lorraine,
and Alh�ndiga Bilbao, 2013-14), and the book Crawling Doubles: Colonial Collecting and
Affects (B42, Par�s), co-edited with Mathieu K. Abonnenc and Lotte Arndt. In 2018 her book
The Cure was published by A.C.A. Public. She curated the exhibition Amarantus by
Mariana Castillo Deball at MUAC (Mexico City, 2021) and ARTIUM (Vitoria-Gasteiz, 2021).
Between 2017 and 2019 she was Associate Curator at Museo Jumex in Mexico City where
she developed exhibition projects with B�rbara Wagner & Benjamin de Burca, Fernanda
Gomes, Xavier Le Roy, and Mathieu K. Abonnenc among other artists, and organized the
exhibition Could Be (An Arrow). A Reading of La Colecci�n Jumex. She was part of the artistic team of the 8th Berlin Biennale in 2014 and between 2008 and 2010 she was
responsible for Gasworks Residency Programme in London.
Mauricio Marcin (Mexico, 1980)
He works as Chief Curator at Museo de Arte Carrillo Gil (MACG) since 2019. In 2015, he cofounded Aeromoto, a public library based in Mexico City (aeromoto.mx).
His curatorial research tries to make visible the neo-avant-garde and non-objectual
practices developed in Mexican art during the second half of the 20th century. His work is
based on archival practices and simultaneously, his historical research has been linked to
the practices of young generations in diverse ways, that it offers a rhizomatic perspective
of Mexican art in recent decades.
In 2021, he curated the retrospective exhibition of Juan Jos� Gurrola at MACG, which
brings together six decades of work by the multifaceted Mexican creator.
In 2019 he curated Abusos de las formas at MACG. In 2018 he curated the exhibition
Bombs: Marcos Kurtycz in Witte de With, Rotterdam and Common Silence in Baxter
Street, New York. In 2017 he curated Activating Objects at Another Space, New York.
Between 2012 and 2016 he was curator at Museo Experimental el Eco where he made
exhibitions of Vivian Suter, Wolf Von Kries, Diego P�rez, among others.
In 2015, he published the book Las ideas de Gamboa for Museo Jumex. In 2013 he
participated in the Mercosur Biennial. In 2011 he published the book Artecorreo. That same
year he participated in the residence in Capacete, Brazil. He was curator of El Clauselito, a
space dedicated to contemporary painting in the Museum of Mexico City.
Together with Annabela Tournon, he edits the bilingual magazine Tada, in French and
Spanish.
Artists:
Mariana Castillo Deball (Mexico, 1975) is a visual artist who has focused on exploring the
history of cultural objects, their prevalence and the different ways in which they have been
understood and interpreted through time.
The multidisciplinary approach of her work has led her to collaborate with specialists from
different branches of scientific and cultural knowledge. Her work has been honored with
international awards, including the Prize of the National Gallery, Berlin (2013), the Zurich
Art Prize (2012) and the Ars Viva Award (2009).
She has participated in several large-scale exhibitions and biennials, including the S�o
Paulo Biennial (2016), the Berlin Biennial (2014), dOCUMENTA (13), Kassel (2012) and the
Venice Biennale (2011), among others. Her most recent solo exhibitions include the one
held at the Museum f�r Gegenwartskunst Siegen, Germany (2021), Modern Art Oxford,
England (2020), Monash University Museum of Art, Melbourne, Australia (2019) or at the
New Museum, New York, United States (2019). Also at the San Francisco Art Institute,
United States (2016), Hamburger Bahnhof-Museum f�r Gegenwart, Germany (2014),
Glasgow Center for Contemporary Arts, Scotland (2013) and at the Chisenhale Gallery,
England (2013). She has been a sculpture professor at the Academy of Art in M�nster,
Germany, since 2015.
Naomi Rinc�n Gallardo (1979) is a visual artist who lives and works in Oaxaca,
Mexico. From a decolonial feminist and queer perspective, her audiovisual and
performative work creates narratives of desire, dissidence and resilience in the face of
contemporary processes of dispossession and heteropatriarchal violence in neo-colonial
contexts.
Naomi Rinc�n Gallardo integrates into her mythical-political practice her interests in
speculative fiction, music videos, theatrical games, vernacular celebrations, and the
manual elaboration of props and costumes.
She completed her undergraduate studies at La Esmeralda National School of Painting,
Sculpture and Printmaking. She obtained her master's degree from the Education:
Culture Language and Identity program at Goldsmiths University of London and is a PhD
from the Practice Program, Academy of Fine Arts Vienna . She is currently a member of
the National System of Art Creators 2019-2022 of the National Fund for Culture and the
Arts. Her work has been exhibited at the Museo Experimental el Eco, Mexico
(2019); Biennial Femsa (2018); SF Moma (2017); Biennial of Nicaragua (2016); Anticolonial
Fantasies , Friday Exit, Vienna (2016), Odysea Ocotepec en Kuenste der Welt, K�ln (2014),
among others.
Fernando Palma Rodr�guez (1959) has developed a body of work that is intended to
provoke reflections on the excessive use of technologies in modern life, and the ways in
which capitalism has destroyed the balance between nature and culture. His work seeks
a regeneration of the relationships between species and the revaluation of the living
traditional culture of Milpa Alta, especially the Nahuatl language that prevailed in his
native place and that has been disappearing.
His work has a mechatronic and artisan nature: he creates machines that he himself
develops, builds and programs. These artifacts are often activated by the viewer and react to their movements through light and motion detectors. He works actively in the Calpulli
Tecalco Civil Association, created by his mother Carmen in 1998 with the aim of preserving
the Nahuatl language and, through it, the milpatense worldview. Through this
association, they have also defended traditional forms of farming and prevented the
proliferation of transgenic corn that threatens the ecosystem diversity of the region.
Fernando Palma is a Technician in Industrial Mechanics from CETMA and an Industrial
Engineer from UPIICSA of the National Polytechnic Institute of Mexico City (1982). He
received a BA in Art and Art History from Goldsmiths College, University of London (1991)
and did postgraduate studies at both the Slade School of Fine Arts in London and the
Rijksakademie Van Bildendenkunsten in the Netherlands (1993).
Palma has exhibited his work at the Gwangju Biennial in South Korea (2020); at the Lyon
Biennale, France (2020); at MoMA PS1, New York, United States, (2018); at the Museum of
Contemporary Art of Oaxaca (2017); FRAC des Pays de la Loire, France (2016); Parallel
Oaxaca, Mexico (2016); Nottingham Contemporary, England (2015); the Biennial of the
Americas, Denver, Colorado (2015); Museo Universitario del Chopo, Mexico City, Mexico
(2014); and SITE Santa Fe, New Mexico (2014).
Santiago Borja Charles (Mexico 1970) interweaves relevant elements of diverse cultural
heritages, that is, of different ways of conceiving the world, he achieves a series of
juxtapositions that equally touch both the tangible and intangible cultural heritage. Thus,
through what he calls �anachronistic montages�, he seeks to make evident the complexity
with which our cultural values are articulated, and that in for the sake of the construction
of concrete identities, most of the time they are reduced and simplified to a single,
permanent and unequivocal thing. His most recent projects include Premier
Contact (Beauvais), Totemic Sampler (Kortrijk, Belgium) and Everything Falls into place
when it collapses (Arizona's SMOCA). He has made various interventions for a specific site
such as A Mental Image (Sonneveld House, Rotterdam), Suprasensible (Mies van der
Rohe Pavilion, Barcelona), Site (Villa Savoya de Le Corbusier, Poissy, France), Fort Da /
Sampler (Neutra- VDL House, Los Angeles); In the Shadow of the Sun (IMMA,
Dublin); Divan (Freud Museum, London) among others. Among the main group
exhibitions in which he has participated are the Hangzhou Triennial in China, the Orl�ans
Architecture Biennale, the Architecture Biennale in Chicago, the triennial of art at the
Orange County Museum of Art, The Natural Order of Things at the Fundaci�n Jumex, The
Global Contemporary at the ZKM, Ouverture pour inventaire, at the FRAC Pays de la
Loire, Ruta Mystica at MARCO de Monterrey and Poule! at the Jumex Foundation
Useful information for the visit
Hours:
Gardens from 10.00 to 19.00. Arsenale from 10.00 to 19.00 (from 10.00 to 20.00 on Friday and Saturday until September 30th). Closed on Mondays (except May 13, September 2, November 18).
Tickets: please visit the official website.
Phone: +39.041.5218711; fax +39.041.5218704
E-mail: [email protected]
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