David Alfaro Siqueiros, Ana Bidart & Primal, Antonio Bravo, Rocío Cerón, Itziar Giner, Cynthia Gutiérrez, Isauro Huizar, Cirse Irasema, Berta Kolteniuk, Daniel Lara Ballesteros, Gabriel de la Mora, Diego Pérez, Jorge Satorre

21 Marzo de 2020 - 04 Octubre de 2020

Espacio de exhibición: Sala principal

Curaduría: Willy Kautz

This exhibition consists of a collaborative curatorial practice in three phases. While keeping the museography of the previous exhibition, End of the Future, this experiment will add three exhibits to the same organizational space. Resulting from the reproduction of every space of Siqueiros’ home, adjacent to La Tallera, this museography was conceived as a sort of mirror, as a public version of the private housing space. Taking the mirrored relation between an object and its effects as a starting point, these curatorial exercises suggest a participatory model that incites the viewer to reflect upon how chance has an impact on the configuration of what is public.

The title of this exhibition stems from an interview held with Siqueiros about the student strike at The School of Fine Arts of the Old San Carlos Academy in 1911, and alludes to his involvement in the demonstrations and rallies linked to the problems related to the public realm and artistic training. In this political and pedagogical context, the stone was used as a demarcation instrument or a projectile thrown to defend a territory, educational program or ideology. However, for this museum project, the act of tossing a stone operates not only in its political sense but also in a metaphorical way. That is, it also addresses concatenated actions, the sequences of cause and effect, micro-narratives, cross-overs, and the unusual merging between ideas and concepts, historical images and documents, as well as the rebound effect; which is to say, when a “good cause” evokes its contrary and/or unleashes unexpected effects due to its intentions.

Therefore, the selection of works by Siqueiros, projects by contemporary artists, documents, texts, workshops, performative and sound actions that are deployed in this exhibition conceived as a mirror (ghost) of Siqueiros’ residence, become a palimpsest of accounts and evocative historical images. With this project, La Tallera suggests a curatorial model for a participatory and collaborative museum, with the aim of updating its historical vocation as a Studio-School, which is to say, an exhibition space that is not only contemplative, but one that can be useful and utilized for experimentation.

Willy Kautz