DANIELA ELBAHARA     ( Huichapan 1–1, Hipódromo, 06100, CDMX — Tuesday to Friday, 12-6 P.M. – Press / appointments: info@danielaelbahara.com, IG:@danielaelbahara )

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Jim Ricks
January 25, 2020
Daniela Elbahara is happy to celebrate four “firsts”; The 1st anniversary of the gallery,Jim Ricks’ 1st solo show in the space (and his 1st 'painting show') as well as the 1st exhibition of 2020.

First of all, it is important to say that the show is more of a search for the democratic impulse than anything complete or with clear conclusion. Plus, it’s one of Ricks’ ongoing series.

The name of the show comes from the protest chant popularized in the anti World Trade Organization protests in Seattle in 1999. With this title, Ricks hopes to highlight the threshold between revolutionary fervor and mob rule; between high aspirations for humanity and mass-produced platitudes.

Thank You Facebook - from @richardengelnbc Friday Jan 28, 2011
In “This is What Democracy Looks Like”, the Bay Area artist defines democracy as something “between the absolutely brutal and the absurdly banal”. Actually, all his work derivates from years of research, but also from chance encounters on the street or directly from the news and Amazon. The editorial process is one of careful selection and blatant appropriation. By selecting objects from the real world there is a certain unquestionability to them. They exist independently, like citations in a thesis or secondary sources on Wikipedia. Ricks actively seeks to collapse time and space by the careful selection of examples from different time periods, thus resisting the urge to make 'current events' work all too often misunderstood and accepted as political art, often highlighting disparity within the same culture and place.

Moreover, let us remind you that democracy comes from the combination of the Greek words demos and kratos... 'District rule' or 'the rule of common people', or even 'strength of common people'. Today most people equate the word with Bourgeois Democracy or the chance to vote for professional politicians in a parliamentary system every few years.  Ricks’ definition refers to “the organic formulations of people – something I believe is 100% instinctually natural and human – to create order and structure. I believe that class-less self-organisation is innately human. Today this normally occurs outside of official systems of control. But I also look to universalize concepts of equality to compliment the overtly political trajectory of the show.  Thus, democracy is revealed as something powerfully innate, but also popular, common, and universal in character. From independent political self-organization to market detritus of the international pop quotidian.”

Ricks’ first 'painting show' is not purely painting and it’s not showing painting in the traditional sense. The artist fabricates the paintings like screen prints and frames source information like photographs – much like the Duchampian sense of making 'selections'. This of course reflects his education, and equally his background as a graffiti artist, coming through numerous examples of graffiti directly included, but likewise through the prevalence of text in the show and a general 'street' sensibility. He strives for the gesamtkunstwerk (a work of art that makes use of all or many art forms), as a sort of art-historical game that includes bronze sculptural works, printmaking, murals, found objects, sound and relational pieces.

Jonay P. Matos
September 28 to October 31, 2019
Yo: ¿A quién le importa un original?
Tony: Kill lies all.

“A pesar de las apariencias en contrario los hombres pierden más y más el afecto hacia las pinturas, las esculturas y la poesía. Los seres humanos de ahora han puesto su corazón en cosas completamente diversas: máquinas, descubrimientos científicos, riquezas, dominio de las fuerzas naturales y de las extensiones de la tierra. Ya no sienten el arte como una necesidad vital, espiritual, como sucedía en los siglos pasados. Muchos de ellos continúan actuando como artistas y ocupándose del arte, pero lo hacen por razones que poco tienen que ver con el verdadero arte, lo hacen por espíritu de imitación, por la nostalgia de la tradición, por la fuerza de la inercia, por amor a la ostentación, al lujo, a la curiosidad intelectual, por seguir la moda o por cálculo.” — Fragmento del relato “Visita a Picasso (O Acerca del Fin del Arte)”. El libro negro. Giovanni Papini. 1959.

Tal vez no se equivocaba Giovanni Papini cuando poniendo voz a Picasso, éste decía que en el futuro el corazón de las personas estaría en otras cosas como las máquinas, descubrimientos científicos, riquezas, dominio de las fuerzas naturales y de las extensiones de la tierra, y ante esto los artistas sólo tendríam dos salidas: divertirse y ganar dinero.

El internet (en concreto, las redes sociales) como punto de partida de este proyecto y el espacio de la galería como un gran lienzo donde conviven obras de diferente naturaleza que forman parte de un todo. Una escenografía, donde ningún elemento es individual u original si no pertenece al conjunto, a un imaginario teatralizado, donde el artista concibe una especie de idea de sí mismo y deja que el espectador proyecte su propia idea de lo que está viendo, sin cuestionar la profundidad de esa realidad pero sí profundizando en la idea de la percepción a través de las redes sociales que tenemos de nosotros mismos (y la que tienen los demás sobre nosotros).

Así que, según Tony: Kill lies all.
Frase que grafiteó el artista Tony Shafrazi sobre el Guernica en Nueva York, 1974.

El trabajo de Jonay P. Matos mezcla procesos que se establecen entre lo artesanal y lo digital. Durante este mes de septiembre Jonay P. Matos ha utilizado el espacio en Daniela Elbahara Studio, como un lienzo donde la creación, el juego y la diversión entra en contacto. A manera individual o en colaboración con otros artistas PMatos ha creado diversas piezas y registros de las mismas a través de la fotografía y el vídeo.

Aníbal Catalán and Alejandro Almanza Pereda
May 30 to August 29, 2019
This expo shows two artist friends who met just after leaving the arts school. Both Aníbal Catalan and Alejandro Almanza, had tried to be architects before becoming professional artists and living off their work. For a while, they even shared studio.

Anibal’s work is visibly architectural. His previous strokes in Autocad are embellished by precise interventions made with materials such as acrylic, spray, and even oil. Anibal´s sculptures demonstrate his ability to lay out a non-existent and futuristic world very similar to that of the paintings and drawings of Lissitzky, Malevich and Russian suprematist architects.

Alejandro's work is an organized disorder. It is a shock that breaks the monotony, and draws attention for its rarity. Almanza generates poetic compositions by reorganizing found objects and building material. That is the architectural reflection that he gives to his pieces. The results always stand out.

Both have exhibited and belong to the best collections in Mexico (Museum of Modern Art, Jumex Collection, Carrillo Gil Collection, etc.) as well as have won national and international awards (National System of Creators of FONCA, Krasner-Pollock).

With Sean Barton, Conrad Carlson, Andrew Chapman, Matt Clark, Ira Coyne, Gailon Justus, Steve Kirkland, Chris Lux, Ajene Moss, Panda Sex, Primo Pitino, John Radtke, Willy Reed, Jim Ricks, Richard Soriano, Luke Stickney, and Thor
May 8 to 25, 2019
For this exhibition, The Play Show, artist and curator Jim Ricks brings together the notorious KIL graffiti crew, which originated in San Francisco, CA in the late 90's, to highlight the attitude and method of experimentation for which they have always been known – usually painting styles years ahead of their time. Keep It Lit, Kids In Limbo, Krylon Inspired Letters, Kissing Irish Ladies, Kings In Limousines, Krush It Lucidly... These are vandals and degenerates that have turned from the hard life. A group of survivors and experimenters, challengers, and disruptors.

Unlike most 'graffiti shows' this one is a little smarter. This particular group has stood out from day one as a group of highly experimental and risk taking artists. By showcasing this crew we are able to see artists that have transitioned into the art world with the same methodology that made them stand out on the streets.

The theme of play provides a connection between all of the artists – in various stages of their careers – and and emphasizes an approach to experimentation and an attitude that disregds conformity and breaks down the barriers of convention – the starting point for the crew in 1998. Sean Barton has created weed 'roach' incense as he reconciles his early memories in an installation. Jim Ricks shows new work featuring a 'former homie', Willy Reed constructions self reflexive sculptural 'paintings' that push and dangle in all directions, Primo Pitino underscores his role in the SF queer DJ and rave scene, and a number of other new works including work by Chris Lux, Andrew Chapman, Panda Sex, Ira Coyne, and more.