2014 LATIN AMERICAN ROAMING ART FLORENCIA GUILLÉN / CLAUDIA JOSKOWICZ / JORGE MÉNDEZ BLAKE MORIS (ISRAEL MORENO) / NICOLÁS PARIS / ANTONIO PAUCAR RITA PONCE DE LEÓN / HUMBERTO VÉLEZ / ERIKA VERZUTTI

MUSEO DE ARTE CARRILLO GIL

2014

LARA (Latin American Roaming Art) acts as a platform to promote critical thought and interaction with local communities based on the concept of creation through experience. The project is considered “roaming”; each edition of LARA takes place in a different country, without losing its central strategy or purpose. The first edition of the project was held in Colombia (2012), the second in Peru (2013), and the third in Mexico (2014). Every year, eight artists are invited to participate in a two-week residency taking place in a specific location in a Latin American country. Based on these experiences, they produce one or several pieces that are presented as part of a group show to be held six months later. Two artists from each edition are awarded an additional residency at the Metropolitan Museum of Manila, as well as in FLORA ars+natura in Bogotá. On this occasion, the Museo de Arte Carrillo Gil is proud to present the results of the residency that took place in November 2014 at the Centro de las Artes de San Agustín in Oaxaca. The participating artists of LARA 2014 are Florencia Guillén (Mexico), Claudia Joskowicz (Bolivia), Jorge Méndez Blake (Mexico), Moris (Mexico), Nicolás Paris (Colombia), Rita Ponce de León (Peru), Humberto Vélez (Panama) and Erika Verzutti (Brazil). The exhibition also includes a work by Peruvian artist Antonio Paucar, who participated in the LARA 2013 edition and at the beginning of this year completed his residency in the Philippines. Both in Oaxaca and Manila, the artists met with creators from diverse disciplines and t rajectories, historians, essayists, archeologists, anthropologists and cultural administrators, among others, with the intention to establish an informed dialogue with each location. In the case of Oaxaca, we sought an approach that would include references to the region’s vast cultural heritage;

from the pre-Hispanic cultural legacy of the Zapotec and Mixtec people, to the impact of colonial syncretism. Artists also explored the complex current sociocultural environment marked by a historic struggle between the preservation and d  isappearance of customs and traditions sustained by various ethnic and linguistic groups in the region. Finally, we investigated the key role that the region of Oaxaca has played in various political and social movements since the 19th century, emphasizing the part that art and culture have played within these movements over the past few decades. The aim of this immersion was not to generate immediate or obligatory responses to the context in which the residency was held, but rather to provide a broad set of references that would allow each guest artist to find departure points from which to continue developing existing lines of work in his or her practice. The result is a set of works and projects that demonstrate the importance of the residency as a place to encounter and connect with a context, yet somehow infiltrated into each of these works without necessarily taking a major or determining role. The continuity of the LARA project ensures the constant renovation of critical approaches to a variety of contexts provided by the physical, political and cultural geography of this shared region.

Tatiana Cuevas Curator, LARA 2014

FLORENCIA GUILLÉN (Mexico City, 1977. Lives in Guadalajara) Guillén’s work involves the observation of everyday events that condense the historical and social past of specific communities. Parting from a broad research on patterns of female participation in social, political and cultural resistance movements at different historic moments in Western history, as well as that of Mexico and other Latin American countries, Guillén concentrates on the graphic representations of these struggles. She identifies six essential elements –education, health, food, community, family, and voice– that appear mainly in the textile iconography of states such as Oaxaca, Chiapas, Colima, Hidalgo, and Jalisco. Her analysis of these images leads to the creation of a fictitious graphic icon that combines them and is recreated on a tapestry. The process leading to the conceptualization of this new icon is narrated in a video that records a pair of hands weaving, knot by knot, the backdrop for this new symbol. Guillén studied painting at the Istituto Spinelli per l’Arte e il Restauro in Florence, followed by Art History and Visual Arts at Goldsmiths College, London. She holds a Master’s from The Salde School of Fine Art in the British capital, thanks to a grant from the Arts and Humanities Research Council. Guillén has held individual shows at ESCALA, Essex University, Colchester, United Kingdom; Valenzuela and Klenner, Bogota; and Arsenal, AneksGallery, Poznan, Poland. She has participated in group shows such as La voluntad de la piedra, Programa BBVA-Bancomer-MACG, Museo de Arte Carrillo Gil, Mexico City (2014); Estudio Abierto - Uno obtiene el camino, Zapopan Art Museum (2013); La Puerta Hacia lo Invisible Debe Ser Visible, Casa del Lago, Mexico City (2012); Poetry off the Shelf, The Poetry Foundation, Chicago (2012); and The Works of Others, Old Whitechapel Library, Whitechapel Gallery, London (2006); among others. She has been an artist in residence at Red Mansion Foundation, Beijing; Gasworks International Fellowship, Lugar a Dudas, Cali; and ESCALA, Essex University, Colchester, United Kingdom.

Florencia Guillén Untitled (Resistance), 2015 Wool tapestry and digital HD video with sound 112 cm x 200 cm 5 min 22 sec loop Director: Florencia Guillén Photography: Bernardo Deniz Sound: Andrés Aguilar Sound editor: Andrés Aguilar and Florencia Guillén Tapestry production: Taller Mexicano de Gobelino Weaver: Pedro Ibarra Hernández Research: Florencia Guillén and Isa Carrillo

CLAUDIA JOSKOWICZ (Santa Cruz, Bolivia, 1968. Lives in Santa Cruz and New York) Through slow motion video sequences, Joskowicz reproduces “mythicalhistorical” events present in the global collective memory; personal stories that possess a historic dimension, or rather, that allude to iconic works of art from the second half of the 20th Century, while anchoring them in Latin American surroundings. Some Dead Don’t Make a Sound uses the legend of La Llorona, or the Weeping Woman, as a metaphor for a nation in mourning. In its various versions, this legend preserves elements of its indigenous essence to represent time, the pathway to the underworld, death as an everyday occurrence, the supernatural, and despair. She is aware of her descendants’ destiny, yet is powerless to avoid it. She is therefore emblematic of the despair of an entire people –and inevitably, an allusion to a series of violent events in the Mexican landscape of the past decade, particularly that of September 26, 2014, when 43 students from the Raúl Isidro Burgos Rural Teacher’s College of Ayotzinapa, Guerrero suffered forced disappearance; as well as the violent protests in June 2006 after dismantling the teachers’ settlement at Oaxaca’s main square. Through different takes that register the daily surroundings of the city of Oaxaca in a slow, powerful progression from the main square to the Macedonio Alcalá Theater, this video captures the subtleties of pain and struggle that take place at times when the mundane is confused with the mystic. Joskowicz received a Master’s in Fine Arts at New York University (2000). She has presented solo shows at LMAK Projects, Forever & Today, Inc., Thierry Goldberg Projects and Momenta Art in New York, Dot Fiftyone in Miami at the California Museum of Photography in Riverside, California (all from 2013). Recent group shows include: Fleeting Imaginaries, The Cisneros Fontanals Art Foundation Grants & Commissions Program Exhibition, Miami (2014); Under the Same Sun. Art from Latin America Today, Guggenheim Museum, New York (2014); America Latina 1960-2013, Fondation Cartier pour l’Art Contemporain (2013-2014). She has participated in the 10th Biennale of Sharjah, the 29th Biennale of São Paulo, the 10th Biennale of Havana and the 17th and 18th Videobrazil Festivals in São Paulo, among others. Joskowicz teaches at the Steinhardt Arts Department of New York University.

Claudia Joskowicz Some Dead Don’t Make a Sound, 2015 Single channel high definition video (HD 2K) 11 min Director: Claudia Joskowicz Director of Photography: Antonio Turok Camera: Benjamín Cabral Assistant Director: Alejandro Reynaud Production Assistant: Bruno Varela Gaffer: Ángel Jara Taboada Grip and Dolly: Gustavo Mora Editor: Claudia Joskowicz Actors: Rosario Ordóñez Fuentes and Cristian Rasgado

JORGE MÉNDEZ BLAKE (Guadalajara, Jalisco, 1974. Lives in Guadalajara) Combining historic and geographic elements, Méndez Blake explores various possible connections between literature and art in order to provoke new thoughts on the cultural role of language. In a fortunate chain of coincidences that began with encountering the article “Aproximaciones a Robert Frost”, published in the anthology Alacena de minucias (1962-1969) by Andrés Henestrosa, Méndez Blake revisits the pathway to a theme he started to research years before. Written in 1963, the article narrates the visit Octavio Paz paid to the American poet in his Vermont cabin in 1945. Méndez Blake focuses on coincidentally having read this interview not long before, out of interest in the American poet and his famous poem Mending Wall – which he had arrived at as part of an investigation regarding the architectural motif and its presence in literature. Parting from the popular refrain “Good fences make good neighbors” that appears in the poem, and his interest in the genre of poetry and the wall as an architectural, social and psychological element, Méndez Blake revisits Frost’s poem and converts it into a sculptural form. On the other hand, he develops an investigation regarding the architectural possibilities of a dividing wall through a series of drawings that explores variations on closed spaces. Méndez Blake has held individual exhibitions at the Museo Universitario Arte Contemporáneo, Mexico City (2015); Museum of Contemporary Art, Denver (2014); Museo D’Arte Contemporanea Villa Croce, Genoa (2012); Museum of Latin American Art, Long Beach (2010); Museo Tamayo Arte Contemporáneo, Mexico City (2010). He has participated in group exhibitions at the Museum of Contemporary Art, Santa Barbara (2014); Fundación/Colección Jumex, Ecatepec (2014); Frankendael Foundation, Amsterdam (2013); Museo del Palacio de Bellas Artes, Mexico City (2013); Aspen Museum of Art (2012); Musée d’Art Moderne de la Ville de Paris (2012); Fundación Marcelino Botín, Santander (2012); Museo Amparo, Puebla (2011); among others. He has also taken part in the 13th Istanbul Biennial (2013); 43 Salón (Inter) Nacional de Artistas, Museo de Antioquía, Medellín (2013) and received the Cisneros Fontanals Art Foundation Grant, Miami (2012) as well as the Beca de Artes of the Fundación Marcelino Botín (2010).

Jorge Méndez Blake Dividing Walls Projects, 2015 Colored pencil on paper Polyptych of 30 drawings 27.5 x 37.5 cm each Final dimensions variable Mending Wall (Robert Frost), 2015 Wood, Plexiglas, mirror, metal 300 x 120 x 100 cm

MORIS (ISRAEL MORENO) (Mexico City, 1978. Lives in Mexico City) Through found or exchanged objects from marginalized zones of different cities, Moris builds a series of studies of the social dynamics determined by illegality and violence, relocating the precarious nature of locations and situations at different points of the urban narrative into the privileged space of the art exhibition. These three works are the result of trips to various areas of the city of Oaxaca where he compiled, in different ways and at different times, a series of physical materials and visual references recording the city’s day-to-day transformation, as well as the messages that proliferate therein. Thus, the censorship of selected graffiti that reveals the lack of understanding of the real power of communication through tagging, the fortunate perseverance of certain protest banners or the physical and emotional characteristics of the constant commute to and from the nation’s capital, indicate the collapse of the ancestral cosmic division between the celestial world, the world, and the underworld; constituted as barricades that tirelessly and simultaneously turn up cultures in resistance. His individual shows include: Presa y Depredador: Registro de ilegalidad y violencia; Un monstruo camina entre ustedes, Sala de Arte Público Siqueiros, Mexico City (2014); Ningún animal tiene el derecho de preocuparse por lo que pueda ocurrir mañana!, Museo Carrillo Gil, Mexico City (2013); Mi casa es tu casa, Museum of Contemporary Art, Los Angeles (2010); Un animal muere porque otro tiene hambre, Museo Experimental El Eco, Mexico City (2008). He has participated in various group exhibitions, including: Efecto Drácula. Comunidades en transformación, Museo Universitario del Chopo, Mexico City (2013); 30 Bienal de São Paulo. La inminencia de las poéticas (2012); La hora y los sitios, Museo de Arte Contemporáneo, Oaxaca, Mexico (2012); Tiempo de sospecha, Museo de Arte Moderno, Mexico City (2011); Mexico Expected/Unexpected, Museum of Contemporary Art, San Diego (2011); Educando el saber, MUSAC, Leon (2010).

Moris The bark is not worse than the bite, 2015 Digital print on paper, mounted on rigid base 17 photographic series Variable dimensions Abandoned barricade, 2015 Wood, enamel, ceramic, television and 8 mm video 190 x 70 x 600 cm Inverted nomadic stela, 2015 Wood, plastic, metal, cardboard, enamel and fabric 480 x 60 x 60 cm

NICOLÁS PARIS (Bogotá, Colombia, 1977. Lives in Bogotá) Nicolás Paris creates a space for group exchanges through drawing and other dynamics that touch upon the basic foundations of art. His work operates as a platform through which the processes of visual artistic production are combined with their educational potential. For this installation, he has produced a series of devices on potential systems of learning, communication, and knowledge. Based on a reflection on the narrative structures of preColombian codices and modernist educational proposals, such as the book The Fable Game, by Enzo Mari, Paris revisits a classroom project begun in the year 2000. He worked as a teacher at a rural school in Colombia, where he developed a prototype for an educational tool to help the reading and writing learning process. This model was discussed in workshops with elementary school teachers in Oaxaca and Mexico City in order to analyze and contribute to the development of this methodology. Again, in reference to the graphic communication structures of codices, Paris has also developed prototypes of objects and bodily extensions whose function is to carve, construct, write, and draw. Finally, from an interest in the careful observation of ordinary processes and elements such as light, sound, and traces, he reveals their potential as factors that determine fundamental changes in the experience of a space. His individual shows include: Micro-eventos o la posibilidad de equivocarnos, Fórum Eugenio de Almeida, Évora (2015); El diálogo, el rumor, la luz y las horas o (un lugar para contemplar la transformación), Galería Elba Benítez, Madrid (2015); Room for Us, Kadist Art Foundation, Paris (2013); Ejercicios de resistencia, Museo Universitario Arte Contemporáneo, Mexico City (2012); Classroom, Museo de Arte Moderno of Medellin (2009), among others. He has participated in group exhibitions such as: Uma conversa infinita, Museu Coleção Berardo, Lisbon (2014); The Peacock, Grazer Kunstverein, Graz (2014); When Attitudes Became Form Become Attitudes, CCA Wattis Institute, San Francisco (2012); The Ungovernables. New Museum Triennial, New Museum, New York (2012); The Air We Breathe, SFMOMA, San Francisco (2011); Parapatetic School, Drawing Room, London (2011); Modelos para armar, MUSAC, Leon (2010). His work has formed part of the 12th Bienal de La Habana (2015); 9th Biennale of Shanghai (2012), the 30th Biennale of São Paulo (2012), the 11th Biennale of Lyon (2011), the 54th Biennale of Venice (2011) and the 7th Biennale of Mercosur (2009).

Nicolás Paris Tools for erratic dialogues or sympathetic associations (table to learn how to read and write), 2015 Drawings, objects, tools, wood, videos, exercises, workshops Variable dimensions

ANTONIO PAUCAR (Huancayo, Peru, 1973. Lives in Berlín and Huancayo) In spite of the considerable geographic distance separating Mexico from Manila, the Hispanic colonial heritage shared by both countries has perpetuated the control of a conservative hierarchy. At the same time, the strong influence of US culture has introduced consumer habits and ambitions related to social mobility that have had a counterproductive effect, emphasizing rather than minimizing social differences. The conditions of extreme poverty observed by Antonio Paucar in Manila–according to World Bank statistics, in 2012, 18% of the Philippine population live on less than $1.25 US dollars per day, versus 1% in Mexico–gave rise to this performance in which the artist’s movements as he drags himself on the ground are recorded by a trail marked by ropes and magnets, allowing the continuous drawing of a red line that alludes to our helplessness when confronted by the marginalization and absolute denigration of a sector in our society. The title of the work resonates in Mexico due to its obvious association with the namesake literary work written by Mariano Azuela in 1915, in which he narrates the political awakening of the oppressed during the Mexican Revolution. In the case of Paucar, the position of his body, his physical movements, and the repetition of the line, make an uprising of this kind appear to be impossible. Paucar studied philosophy at the Humboldt University of Berlin, later completing a degree in visual arts at the Kunsthochschule Berlin-Weissensee, as well as a Master’s in Visual Arts and post-graduate work in the same field with Professor Rebecca Horn at the Universität der Künste in Berlin. His most recent work has been exhibited at White Cube Gallery, Metropolitan Museum, Manila (2015); Galerie Barbara Thumm, Berlin (2014); Staatsgalerie Moderne Kunst und Zentrum für Gegenwartskunst im Glaspalast, Augsburg (2011). He has participated in exhibitions such as: Wall Works, Hamburger Bahnhof, Museum fuer Gegenwartskunst, Berlin (2013-2014); Movement Matters, Kunstverein Göttingen, Alemania (2014); LARA 2013, Museo de Arte Contemporáneo, Lima (2014); Ruta mística, Museo Amparo, Puebla (2014); Maribor Project/Rebecca Horn & Guests, UGM Maribor Art Gallery (2012); ¿Y qué si la democracia ocurre?, Galeria 80m2 arte&debates, Lima (2012); Facts of Poetry, Projektraum 1 im Kunstquartier Bethanien, Berlin (2011). From 2008-2009 he received the DAAD grant in Germany and in 2014 he was awarded with a residency at Villa Aurora in Los Angeles. He participated in the LARA 2013 residency in Ollantaytambo, Peru and was selected to complete a residency at the Metropolitan Museum of Manila, Philippines in January 2015.

Antonio Paucar Line (The Underdogs), 2015 Performance Red paint on wooden plank, ropes, magnets, pulleys, sound video

RITA PONCE DE LEÓN (Lima, Peru, 1982. Lives in Mexico City) Rita Ponce de León draws with the aim to establish a zone of communication among different people who contribute heartfelt reflections regarding their social settings. For this project, she worked in collaboration with the Demostravivo Space located in San Sebastián Tutla, a community near the city of Oaxaca. The Space acts as a meeting place for people who gather every week in order to collectively build their independence on different levels. It is one of various projects in the region linked to Unitierra, a network, space, and organization dedicated to learning, study, reflection, and action. In the video, some of the people whom the artist met during her visits to Oaxaca send us messages (that take the shape of actions) regarding how they experience the world in which they would like to live. She studied Fine Arts at La Esmeralda National School of Painting, Sculpture and Printmaking of Mexico City and at the Pontificia Universidad Católica of Peru. Her individual shows include: Endless Openness Produces Circles, Kunsthalle Basel, Switzerland (2014); David, Sala de Arte Público Siqueiros, Mexico City (2012); Piso porque creo en el suelo, Museo de Arte Moderno, Mexico City (2012); He decidido bifurcarme, Centro Cultural Border, Mexico City (2011). She has participated in group shows such as the 12th Biennale of Cuenca, Ecuador (2014); Sights and Sounds, The Jewish Museum, New York (2014); Left Eye, Right Eye, V8, Karlsruhe, Germany (2013); Materia Sensible, Gabinete Gráfico del Museo de Arte Carrillo Gil, Mexico City (2013); Byob, Sala Luis Miró Quesada Garland, Miraflores District, Lima, Peru (2013); The Ungovernables, New Museum Triennial, New Museum, New York (2012).

Rita Ponce de León Hutzin, Elvia, Lisbeth, Clemente, Porfirio, Irene, Gustavo, Erika, Yaxché, Ester, Martin, Patricia, Irene, Óscar, Laura, Toni, Maia, Rita, 2015 Video and series of 15 color and ink drawings on paper 5 min 32 sec loop 20.5 x 20 cm each Camera and video editing: Laura Aldrete Camera assistant: José Antonio García In collaboration with Unitierra and the Espacio Demostravivo of San Sebastián Tutla

HUMBERTO VÉLEZ (Panama City, 1965. Lives in Manchester, United Kingdom and Panama City) In these works, Humberto Vélez uses certain dynamics and factors that allow the construction of urban myths and rituals to present two different situations loaded with a complex background of cultural references oscillating between reality and fiction. The chance encounter with a series of films kept in a local archive found by the artist during his residency in Oaxaca, led to the recovery of the story of an extraordinary boxer, whose life combined interregional migration with the aspiration to lead an allegedly better life by crossing over “to the other side”, as well as the loss of reason that can cause a legend to fade into oblivion. Furthermore, in keeping with his usual practice of collaboration with various groups of people –artists, artisans, poets, athletes, musicians, refugees, indigenous communities– in different cultural contexts, Vélez approaches the practice of the Mixteca ball game. He designs, together with Leobardo Pacheco (an active player who inherited the tradition of manufacturing game gloves started by his grandfather in 1911) a reinvention of this sports ceremony, in which the naive persistence of symbolism connects with the evolution of physical skill and popular expression. Vélez studied law and political science at the Universidad de Panamá, later enrolling in the San Antonio de los Baños International School of Cinema in Havana. His individual shows and performances include: The Awakening/Giigozhkozomin, Art Gallery of Ontario, Toronto (2011); Aesthetics of Collaboration, Art Gallery of York University, Toronto (2011); Le Plongeon, Centre Pompidou - Piscine Josephine Baker, Paris (2010); Bodydream, Centro de Arte La Regenta, Las Palmas, Canary Islands (2008); The Fight, TATE Modern, London (2007). He has participated in the 56th and 54th Biennale of Venice (2015 and 2011); 10th Biennale of Cuenca, Ecuador (2009), The Biennale of the Central American Isthmus in Tegucigalpa, Honduras (2008), the 8th Biennale of Panama (2008), the Biennale of Liverpool (2006), The Biennale of Shanghai (2004), the 8th Biennale of Havana (2003) and the Ibero-American Biennale of Lima (2002). He has completed artistic residencies at Yorkshire ArtSpace, Sheffield; The Ministry of Foreign Relations, Vienna; the York Art Gallery University, Toronto; at Triangle Arts Trust – Gasworks, London, and Cité des Arts, Paris. Since 2012, he has collaborated with Adrienne Samos on the pedagogical project Visiting Minds Panamá.

Humberto Vélez Magic Mario, 2015 Found footage, Super 8, black & white and color. Transferred to video 5 min Music: Nikola Kodjabashia Text: Giovanna Miralles Edition: Will Aldersley Special thanks to: Alison Kershaw

The Duel, 2015 Performance inspired by the Mixteca ball game Photographic and video documentation, ball and gloves Camera: Jasso Producciones Ball and gloves: Leobardo Pacheco Vásquez Text: Carlos Fitzgerald Bernal In collaboration with Leobardo Pacheco Vásquez, Cornelio Pérez, Héctor Alfonso López Santiago, and Francisco Javier Matías Cruz

ERIKA VERZUTTI (São Paulo, Brazil, 1971. Lives in São Paulo) Verzutti’s work is known for using various organic elements in the manner of found objects to transfer them to another reality, one that combines the allegedly exotic with the erotic and fantastical. In these works, the artist not only skews the focus of her work toward fantasy, she also incorporates new media into her usual practice of painting and sculpture. Intrigued by a fixation on different spaces within the Centro de las Artes de San Agustín, viewed as potential backdrops for a possible film –one that would be strongly influenced by the combined perspectives of Giorgio De Chirico and a random compilation of images by Sergei Eisenstein– she collaborated with a theatrical troupe in order to activate these spaces through improvised movements. Later on, in harmony with the willingness of the actors to represent the absurd, Verzutti digitally integrates references to her own work in these photographs in the shape of floating metallic objects that look as if coming from another world. This association with extraterrestrial realms is also present in her works created in felt. A photograph of Stele 18 from Monte Albán, passively standing in the midst of a cosmic vortex, is transformed into a felt tapestry, counterbalanced by a similar composition produced from an image of another work in the artist’s repertoire, allowing the development of intriguingly mysterious proposals within her practice. Verzutti studied Fine Arts at Goldsmiths College, London (1999-2000). Her individual shows include Sculpture Center, New York (2015); Tang Museum, Skidmore College, Saratoga Springs, New York (2014); Galerie Peter Kilchmann, Zurich, Switzerland (2014); Misako & Rosen, Tokyo, Japan (2013); Centro Cultural São Paulo, Brazil (2012); Galeria Fortes Vilaça, São Paulo, Brazil (2011). She has participated in group shows such as Under the Same Sun. Art from Latin America Today, Guggenheim Museum, New York (2014); 56th Carnegie International, Carnegie Museum of Art, Pittsburgh (2013); Vision of Paradise: The Savage Mind, Art Rio, Río de Janeiro, Brazil (2013); A terrible Beauty is born, 11th Biennale of Lyon, France (2011).

Erika Verzutti Stela, 2015 Felt 90 x 60 cm Original photography: Stela 18, Monte Albán. Dr. Jesús Galindo Archive Work developed in collaboration with the Felt Workshop of the Centro de las Artes de San Agustín, Oaxaca Egg Tower, 2015 Felt 90 x 60 cm Work developed in collaboration with the Felt Workshop of the Centro de las Artes de San Agustín, Oaxaca Venus, Interestelar, Egg Tower, Unit, Earth, Swan, De Chirico, 2015 Seven piezographies 20 x 24 cm each Digital editing: Alex Canonico Photographic shooting developed in collaboration with Saúl López Velarde, Sonia Díaz Gregorio and Manuel Valdez Valdez

ACTIVITIES PROGRAM MAY Performance by Humberto Vélez Workshop by Nicolás Paris “Desarrollo de una herramienta pedagógica” JUNE Conversation about the Mixteca ball game JULY Gallery Talk with Tatiana Cuevas, curator LARA 2014 AUGUST Workshop by Moris “Construyendo sobre escombros” SEPTEMBER Workshop by Rita Ponce de León “Con la tierra en los pies y con los pies en la tierra” Presentation of the LARA 2014 publication For more information, please view the complete program via our webpage www.museodeartecarrillogil.com or write to [email protected] Programming subject to change without notice

LARA 2014 | LATIN AMERICAN ROAMING ART 30 May - 4 October, 2015

Asiaciti Trust

Acknowledgements

Asiaciti Trust is the leading independent group for fiduciary services and international investment in the Asian Pacific, providing specialized services of financial consulting, asset protection and international tax planning. Asiaciti Trust has its headquarters in Singapore and also operates in the Cook Islands, Dubai, Hong Kong, London, New Zealand, Nevis, Samoa and Panama. As part of its Private Services Program for Families, Asiaciti Trust offers consulting on structures, training and administration of philanthropic projects on an international scale. Through its Charitable Foundation, Asiaciti Trust finances the LARA Latin American Art Project.

Lourdes Báez, César Espinosa, María Luisa Antonio, Hazam Jara, Jesús Martínez Cruz and the whole team at the Centro de las Artes de San Agustín, Mónica Villegas of La Curtiduría, Alonso Aguilar Orihuela and Inari Reséndiz of the Instituto de Artes Gráficas de Oaxaca, Esteban San Juan Maldonado of the Coordinación de Teatros at the Secretaría de las Culturas y Artes de Oaxaca, Teatro Macedonio Alcalá, Metropolitan Museum of Manila, Fuica Ambrosio Olivera, Edgardo Aragón, Challenger, Margarita Dalton, Paula Duarte, Sebastián van Doesburg, Guillermo Fricke, Jesús Galindo, Ernesto González Licón, Luis Hampshire, Gamaliel Jarquin, Claudio Jerónimo López, Ezequiel Marín “El Máskaras”, Oliver Martínez Kandt, Pedro Martínez Velasco, Sósima Olivera Aguilar, Adán Paredes, Uren Reck, Tlacolulokos (Darío Canul, Cosijoesa Cernas y Eleazar Machucho), Berenice Torres, Jesús Torres, Luis Miguel Torres, Laureana Toledo, Jaime Vera Estrada, Rubén Vasconcelos, Emi Winter, Jessica Wozny, to all the team at the Museo de Arte Carrillo Gil and all those who helped enrich this experience.

LARA 2014

Consejo Nacional para la Cultura y las Artes

Amanda Briggs Director

Rafael Tovar y de Teresa President

José Roca Curator, LARA Collection

Saúl Juárez Vega Cultural and Artistic Secretary

Tatiana Cuevas Curator, LARA 2014 Edition

Francisco Cornejo Rodríguez Executive Secretary

Alejandro Reynaud | MAPA Production

Instituto Nacional de Bellas Artes

LARA is a project financed by Asiaciti Trust

María Cristina García Cepeda General Director

www.laraproyecto.org

Xavier Guzmán Urbiola Assistant General Director of Architectural Heritage Magdalena Zavala Bonachea National Visual Arts Coordinator Vania Rojas Solis Director of Museo de Arte Carrillo Gil Roberto Perea Cortés Media and Public Relation Director

Museo de Arte Carrillo Gil • Av. Revolución 1608, San Ángel. C.P. 01000, Méx., D.F. museocarrillogil museocarrillogil prensamacg @Carrillo_Gil www.museodeartecarrillogil.com