DANIELA ELBAHARA     ( Huichapan 1–1, Hipódromo, 06100, CDMX — Tuesday to Friday (By appointment only) – Press / appointments: danielaelbahara@gmail.com, @danielaelbahara )

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Ricardo González
Apr 17 to Jun 5 2021

In Ricardo Gonzalez’s second solo show with the gallery he presents new large and medium scale paintings, made in New York City where he lives and works. Growing up in Mexico City and residing in New York City’s chinatown neighborhood for the last 20 years, Ricardo’s paintings always carry the mood and attitude of life in a big city. In this new collection of paintings the viewer is presented with larger than life solitary male and female figures, depictions of fruit that take on an animated presence and an image of a sinister black cat. The paintings are personal and fueled by the surrounding environment.

They seem to be painted with a rhythmic quickness, leaving the trace of temperament and expressionism along the way. These paintings are moody and charged with ambiguous narratives, that instead of aiming at a specific meaning, they evade one and become open to possibilities. Possibilities for the viewer to insert herself and experience the paintings viscerally and through the language of paint.

Most of these paintings go through various transformations from start to finish. The process is intuitive and open to opportunities, risk, and change of plans, like exploration guided by clues in the paint. The range of ideas that serve as starting points can be derived from a drawing that was made from a film, a part of another painting, or improvisation based on a composition or color scheme. The final image is not one that is preconceived but one that is found through painting.  “Frutos”, the title of the show, serves as a reference to this process.

Virtual tour:

Rodrigo Echeverría
Feb 20 to Apr 3 2021

In an early essay published in 1911, Mexican scholar Alfonso Reyes refers to the Greek chorus with these words:

The chorus works rhythmically, as a dynamic instrument through which […] the emotional charge accumulated in the depths of the mind explodes […] And this is the essential reason that the chorus is present at all events and even secret revelations: in order to know the drama and get in touch with it; to feel, to be moved, and to release […] the emotion […], the sorrow, the terror.*

*Reyes, Alfonso, 1996. “Las tres «Electras» del teatro ateniense”, in Obras completas. Vol. 1: Cuestiones estéticas, Fondo de Cultura Económica, Mexico City, page 30.

Painting is mute, it does not speak to us in words, rather it communicates to us from the origin of ideas, which are images: it is a direct communication. The eye transforms the image into thoughts and emotions. The gaze discovers the depth of existence, which is initially voiceless, and then — by necessity of thoughts — it generates words. A newborn cries after taking its first breath, seeing the madness and deformity of the world. Adulthood is the coding for all that deformity.

Clouds disintegrate into rain. Rain creates puddles. In clouds we imagine shapes and in puddles we see our reflection. Clouds are the mirror of the imagination. Puddles reflect our perversions. The paintings are both clouds and puddles. In clouds we find the freedom of imagination. Our enslaved problems are found in the puddle. In clouds we rest and in puddles we question. The cloud is the phenomenon, whilst the puddle reflects the sentient phenomenon: it is a dynamic of the internal and the external.

We are all some kind of tragic heroes and what unites us is the fundamental way of perceiving what surrounds us. We perceive the sun, light, shadow and matter, which are then encoded with different terms. Emotions and feelings arise, to finally arrive at what concerns every human being: morals and ethics.

The statement of this exhibition is that the works shown comprise a silent chorus of clouds and puddles, that invite the spectator, through the characters depicted in the paintings, to witness the spectacle of perceiving life.

Rodrigo Echeverría, Mexico City, February 2021

Virtual Tour:

Hugo Robledo
Nov 14 2020 to Feb 6 2021

The starting point of this series is a historical review of modernity in Latin America to point out the convergences between aesthetics and ideology. Specifically, it is a quest about the Modern Movement in architecture and the context of authoritarian regimes that affected the region during the Cold War. The paintings evoke the modern architectural forms that express an intense aesthetic search and simultaneously embody an ideological and political device.

The pictorial space becomes a playing field between logic and fantasy. The search for a rational compositional construction coexists with a chromatic seduction and features of spatial anomalies. An ambiguous visual language appears, verging between abstraction and representation. Painting offers surface possibilities in which traces of manual imperfection and coldness of industrial finishes are together shown.

Imagining the future is one of the operations that architecture performs. Societies and governments of Modernity projected their desires for progress through the architectural space. The luster of optimism has aged at the same time as the surface of concrete. Its cleavages reveal a halted project that in our present time appears as a distant dream.

Virtual Tour: