Material Art Fair is a contemporary art fair dedicated to emerging practices that takes place in Mexico City. It features selected international exhibitors based on the strength of their proposals, their commitment to daring programming, as well as wide support for young emerging artists.
Pequod Co. is pleased to announce its first participation at Material Art Fair 2022, which will take place at Sabino 369, colonia Atlampa, Mexico City from April 28th until May 1st, 2022.
For this edition, we will present a group show of new and recent pieces from a selection of the artists that are part of the gallery’s program: Paloma Contreras Lomas, Cristóbal Gracia, Leo Marz, Renata Petersen, Andrew Roberts, Joaquín Segura, and Benjamín Torres.
The booth features a large format drawing by Paloma Contreras Lomas, titled “La vida secreta de los perros”, which the artist has re-worked since it was exhibited for the first time as an installation accompanied by a video projection at MUCA Roma.
By Cristóbal Gracia we will present “Después de haber permanecido algún tiempo en la entrada, surgieron en mí dos emociones contrarias, el miedo y el deseo, el miedo a la oscura grotta amenazadora, el deseo de ver si había algo maravilloso dentro de ella”, which is part of the body of work that Gracia developed from his research of the construction of Western aesthetic canons, generated from power centers since the Renaissance.
We include an edition (of 10 in total) by Leo Marz titled “New Eyes”, which comes from the piece “So, we’re all guests, and no one knows anyone” presented during his Museo Jumex solo show last year. Both pieces allude to a giant selfie from which Marz erased all trace related to the characters, except their eyes, which are produced in brass and hang from chains made from various materials.
Renata Petersen’s piece, “La fortaleza de cristal cromado” [The fortress of chromed glass], is a blown glass and silver sculpture, made with the help of experienced artisans from Tonalá, Jalisco. This technique recalls the traditional glass silver balls that Barragán used to decorate his houses and gardens with. Petersen likes to question tradition and the union of architecture and art within Guadalajara’s art ecosystem; the figure of the “Architect/Artist”. The piece is a city constituted by lonely and inhabitable dildos, cities of fragile and futile enjoyment, about to collapse.
Andrew Roberts’s piece “CLOYSTER: One hundred and two million Cthulhu particles deep beneath the ocean” is part of the series currently being presented at the Whitney Museum of American Art, as part of the Biennial, in New York. Roberts picks up zombie Haitian fiction as a work machine that has disconnected its mind from its body to speak about subjects such as normalization of violence, colonization, alienation, and consumerism.
Joaquín Segura developed a new series of executed abstractions with Conté pencil departing from declassified documents sent between 1997 and 1999 to the Defense Intelligence Agency in Washington, where the role played by the Mexican government and army during the Acteal Massacre (Chiapas, Mexico) is detailed.
Benjamín Torres will present “Marcando los cuatro puntos kardinales”, a medium-format sculpture made of steel alluding to Torres’ interest in language through graffiti, and which was presented at his solo show in Pequod Co., Don’t ever work!
Photos by Sergio López.
