MEDIATION LABORATORY. SIQUEIROS PROJECT COLLECTION
30 Octubre de 2019 - 23 Febrero de 2020
Espacio de exhibición: Galería
Curaduría: Mónica Montes y Joel Pérez
This exhibition is an open exercise that invites audiences to study a public collection. Most of the selected works belong to David Alfaro Siqueiros’ final production stage, which ranges from 1966 to 1973, and which was produced in what was his studio-school in Cuernavaca, currently known as La Tallera.
Siqueiros rejected easel painting because he considered it bourgeois, but he used these formats as trials or preparation projects for his murals. In these pieces we notice the key factors for the study of his artistic and aesthetic proposal. The exhibition is divided in three focal points that evidence it: Strokes of Spatial Composition, Controlled Accidents, and Sculptopainting.
Optical Exercise, 1934, is particularly interesting because it differs from the formal treatment we have come to know as Siqueiran. This is a piece that evidences the artist’s constant search to transform the bi-dimensional plane into a dynamic one, where forms and space are in perpetual movement.Siqueiros rejected easel painting because he considered it bourgeois, but he used these formats as trials or preparation projects for his murals. In these pieces we notice the key factors for the study of his artistic and aesthetic proposal. The exhibition is divided in three focal points that evidence it: Strokes of Spatial Composition, Controlled Accidents, and Sculptopainting.
In Traces of Spatial Composition, we can observe an exploration of diagonal lines and pyramidal structures that allowed the painter to construct a proposal regarding poli-angularity. This solution sought to create multiple points of view for a person who was moving. Controlled Accidents shows his experimentation with new industrial materials and technologies to integrate scaffolding suited to artistic production: acrylic, pyroxylin, asbestos, cement, electric light, electric projector, and air gun; as well as photographic images. In the final focal point, Sculptopainting, we find an investigation around the limits of the canvas, sculpture and architecture, an honest critique of reflections relative to the artistic integration of the fifties.