Vaivén Documentaries
Encounter and explore: image, voice, and concepts
Las líneas del tiempo
Through his time in Germany and his work residencies in Europe, Agustín Gonzalez became involved with the work of Otto Dix, Daniel Richter, Soutine, Peter Doig, Marlene Dumas and Francesco Clemente. Agustín González's painting not only represents his different creative and research processes in the plastic arts but also strongly involves literature and particularly poetry. Complex processes of constant destruction through transparencies and dynamic brushstrokes that play with the expressive possibilities of drawing and painting. Faithful to the style that characterizes him, Guty González uses painting as a means of action, destruction and narration to expose his most intimate concerns and desires.
Agustín Guty González
Heriberto Quesnel
WUNDERKAMMER
Valerie Campos
Wet Paint
Campos uses horizontal and vertical lines to expose an invisible grid that translates three-dimensional space into flattened compositions of patterns and colors.
Saúl Kaminer
Utopias of Freedom
Saúl Kaminer is a being in transit: warrior and monk, with Middle Eastern leanings, profound, thoughtful, and minimalist. He combats the secondary, eliminating ornaments and artifices, and preserves the essential, that hard core of his expression is anchored in the sobriety of space, in incessant movement, in the provocation of light and its revenge in shadow.
Daniel Lezama
Hybrid imaginaries
Perhaps the more evident, the more adhoc with collective thinking, and its need for normativity, would be to think, that all of those who, like Armando Romero, modify the great works of art of the Renaissance and the Baroque, by adding to them stickers and other references to popular culture of every kind, desacralize them intentionally, because they openly despise the elitist culture from which they have originated.
Armando Romero
Hybrid imaginaries
Perhaps the more evident, the more adhoc with collective thinking, and its need for normativity, would be to think, that all of those who, like Armando Romero, modify the great works of art of the Renaissance and the Baroque, by adding to them stickers and other references to popular culture of every kind, desacralize them intentionally, because they openly despise the elitist culture from which they have originated.
Maribel Portela
Artificial Paradise
Maribel Portela blurs the borders that exist between shape and essence, natural beauty and artistic beauty, realism and utopia. She manipulates those dichotomies freely, inverting them, negating them, or reaffirming them simultaneously.
María José de la Macorra
Light containers
The most immediate characteristic of the work of María José de la Macorra is perhaps the fact that it alludes to the various shapes of nature.
Perla Krauze
After the Ice Age
Perla Krauze is not only an artist; she is a sort of interpreter that seems to know the language of stones and plants.
Jesús Lugo
The Imaginary Museum
There is, without a doubt, something obsessive in the work of Jesús Lugo. How else can one explain that, within the limits imposed by the canvas, most of his paintings are animated by a nearly infinite multitude of such diverse characters, with different expressions and attitudes?
Yolanda Mora
On Mars, Invention
Artist of freedom and the rhythm that arises from the very mystery of creation. Liberated painting that bears the stamp of origin of every aesthetic act; an emotional movement that arises from the deepest part of the inner self and from the antithesis of abstract academicism.
Endy Hupperich
Three for Blue, Thin Opera
An artist who swims against the current, who shuns pure language and categorizations. With his skill at manipulating images and a collector’s dedication, he explores the absurd, the ironic, and the popular without softening his message or his critique of consumption, of the false dichotomy between high and low culture.
Mario Núñez
The Vestige of Impermanence
Mario Núñez is not easily pinned down; his painting detaches itself from an oppressive reality to project an autonomous force that is both evocative and expressive. In his work a central approach is put to the test: Painting implies an investigation into the creative capacity of art itself and, therefore, of the possibilities of language and its complex relationship with thought.
Valerie Campos
Evocations and Resonances
Valerie Campos is a voyeur of nature, a creator of scenes in which our gaze falls on a space that is composed and decomposed, that multiplies, that becomes diaphanous, abstract and figurative, timeless. It is the sublimation of the sexual; sonorous and organic, her work shows us the intimacy of the artist and a tremendous closeness to the beings (humans, animals, and plants) that surround her.
Roberto Turnbull
Coming soon