International exhibitions

Archives 1st half of 2013

The architectural ellipsis, Ruth Estévez and Javier Toscano

Centro Cultural Universitario Tlatelolco, Mexico City

27.02 - 16.06.2013

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Exhibition February 27 - June 16, 2013. Centro Cultural Universitario Tlatelolco, Ricardo Flores Magon 1, Tlatelolco, Cuauhtémoc - Mexico City (Mexique). Tél.: +52 55 5583 0961.

© ArtCatalyse International / Marika Prévosto 2013. All Rights Reserved

The architectural ellipsis, Centro Cultural Universitario Tlatelolco, Mexico City

The constitution of the disciplines of knowledge and of action has grown up around the precise delimitation of their analytical categories, the identification of the problems they address, the determination of their goals and the concrete means of achieving these. In this regard, architecture does not escape any of the usual rules of discursive construction. Nevertheless, the real world is not parcelled up into ordered disciplines to the same degree as the epistemological imagination would have us believe.

In keeping with Ballroom Marfa’s mission, New Growth will feature newly commissioned work including a large-scale sculpture and video—both produced during the artist’s stay in Marfa, as well as paintings, works in wood, and islands of sculptural installation.

E-Flux Press release

Participating artists: Esteban Azuela, Tania Candiani, Jordi Colomer, Democracia, Jimmie Durham, Larissa Fassler, Luca Frei, León Ferrari, Enrique Ježik, José Jiménez Ortiz, Mark Manders, Matt Mullican, Erik Olofsen, Clarisa Tossin and Anri Sala.

Jimmie Durham, A line of graphite beginning on the left side, 2009. Graphite on cotton paper, 81 x 61 cm. Image courtesy of the artist and kurimanzutto, Mexico City.

Jimmie Durham, A line of graphite beginning on the left side, 2009. Graphite on cotton paper, 81 x 61 cm. Image courtesy of the artist and kurimanzutto, Mexico City.

This project explores the possibility of thinking through the consequences of an architectural reason that wants to go beyond both the ordering subjectivity of its creators, producers and critics, and the entire sphere of discourse that constitutes it. It is evident that this territory has no official existence, nor is it generated merely on the basis of negating the order architecture entails. A cue: given that we are not working in the field of a particular discipline, and not subject to the same logic, it may be evoked through the use of ellipses, analogies and chiasms, references and partial allusions that form an inter-disciplinary field in which other kinds of operations of analysis and experimentation are possible.

At the same time, the exploration of the alternate, ex-centric use of architectural tools engaged in by these artistic practices may provide a platform to investigate other facets of what may broadly be called the foundation of experience—in this case through denatured forms of representation—of what sometimes comes to make up a major part of our everyday urban practice. Thus, the détournement of the arsenal of architectural tools serves at the same time to reveal aspects of an architectural knowledge that are not necessarily evident to the practice itself, as well as to examine, from the perspective of other cognitive tools, the possibilities for meaning and impact of a habitability that can only be grasped on a multiplicity of levels.