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

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Carolina Fusilier
Nov - March, 2022

I watched the images of a new body of work develop throughout this past portion of the pandemic (Spring/Summer 2021) when we were settled in our little isolation bubble by the sea. We lived by 2 types of time, one connected to the ocean rhythms, and the other to our globally synced devices, which kept us at work, though internet and electricity would often fail.

CLEPSIDRA is an nocturnal water clock used after the sun sets when sundials become ineffective. The scenes from Carolina’s paintings take place in magic hour or before sunrise, after insomnia prevails and light gradients begin to bleed through the other side. When the banality of interiors begin to perform a light show in the living room and faint traces meet sensitive eyes not yet accustomed for color so they appear unnatural, of another planet.

Through windows and doorways, reflected off glass orbs, the constant presence of the ocean is in the background, as present as our devices in the foreground, touch screens that keep us in with machine-predictable gestures of anxious human hands. Correspondences sent towards abstracted cities that feel so distant from this island.C waits for the arrival of a response. The seconds hand fluid or ticking?

Miko Revereza, November 2021

“It’s like ignoring the fire in the kitchen because we’re in the dining room, Lauren explains to her father in an apocalyptic novel by Octavia Butler. I’m falling asleep, closing the book and putting my phone on airplane mode. My pedagogical devices accompany the routine ubiquitously. They float with their imminent red and blue microlights. There are no calendars here, just the occasional illegal and poorly made clepsydra.”

Text taken from the correspondences the artist wrote to different friends during the process of Clepsidra. The answers were printed in the form of a poster that is offered to the public and accompanies the exhibition. Includes texts by Ana Gallardo, Catalina León, Eduardo Navarro, Laura Petrecca and Lucia Hinojosa.

Carolina Fusilier (Buenos Aires, 1985) lives and works between Mexico and Argentina. Through her multidiscipli nary approach she explores human-landscape connections within intuitive narratives of the future.


Fabian Ramirez
September 4 - Nov 10, 2021

An eye that looks the other way: tripzitter by Fabián Ramírez

I live on Earth at the present, and I don’t know what I am.
I know that I am not a category. I am not a thing — a noun.
I seem to be a verb, an evolutionary process-
an integral function of the universe
Buckminster Fuller

A vision-action that gives matter to something invisible, leaving sediments, traces and memory blots. Something that manifests, an overlap, an eye that looks the other way, but attends to painting as a basis for understanding and thinking about things in the world. This is the scene, raw and secret of Fabián Ramírez. An anticipatory deliberation, an invisible space of all moods, meditations and mysteries, an infinite storehouse of frustrations-discoveries.

For Byung-Chul Han, hiding, delaying and distracting are also spatiotemporal strategies of the beautiful. The calculation of the semi-hidden generates a seductive glow. The beautiful hesitates when it comes to manifesting itself. Distraction protects you from direct contact. Distraction is essential for the erotic. I think that Fabián's work is interested in the phenomena that eroticizes the world, an aesthetic of the event that discovers-conceals and interrupts them in the fissure, the rupture and the void.

Fabian Ramírez's interest in Psychedelia, a neologism that suggests that something of the soul manifests itself, seems to understand that the phenomenon that began in the sixties of the last century has to do with the production of desires that strives to discover what is still not conscious. For Diedrich Diederichsen, each critical enlightenment movement with strong concepts advances, leaving behind a trail of snail drool of irrationalism, full of images. Fabián seems to insist that his pictorial, drawing and ceramic work has to do with the role of experience and the duration of those images blurred by time, the market and consumption, but altered to overturn their meaning. A mode of symbolization that shapes the strangeness of the world into recognizable strangeness.

The title of the exhibition that is presented at the Daniela Elbahara Gallery accounts for this awareness, by altering Tripsitter (caretaker (e) of the trip) for tripzitter (“zittern”: tremble) the meaning or action of accompanying and directing the psychedelic journey it is transformed by the chill represented by entering the threshold of another consciousness: The vertigo of dissolution condenses the antipodes: there alternate the anguish of the fall and the pleasure of self-expansion. The death of that substantial and continuous self can be, at the same time, liberation from the density accumulated in it. Instead of the unity of the subject, the dance of becoming: An organic and fluid work that vindicates the radical subjectivity that makes new magic in the dusty world and makes each moment a point of view of all time, and all the rarity, glory and energy of life at our feet.

“Here I am, on the road again…, there I go, turn the page.”
– Bob Seger

Typically collaborating as Hardly Soft, Amber Cobb and Mario Zoots are exhibiting for their first time together, individually. The exhibition title Turn the Page is both figurative and literal. Metaphorically, to turn the page invites new opportunities for change and growth, acknowledging the situation one leaves behind them. The exhibition seeks to “turn the page” after a year of incalculable change due to the global pandemic, a shifting political administration and the jarring examination of systemic racism within the social fabric of the United States.

In the literal sense, collage artist Mario Zoots, creates his compositions using vintage magazines LIFE (en Español) and Arizona Highways, turning the pages of the publications to reveal compelling juxtapositions. He examines spirituality and a sense of exploration in his new works, looking to the landscape of the Southwest for inspiration. The work also marks a shift from paper-based collage to Zoots’ recent exploration with silk.

Sculptor Amber Cobb invites a new chapter in her process as she transitions from using materials such as silicone and mattresses to using plaster, epoxy clay and wood. Cobb’s previous work explored themes of sexuality while her recent works consider expressions of the body and recall the awkwardness of adolescence and the trivialities of a changing physicality. The semi-functional sculptures create a language in abstraction with 26 letter forms, similar to the English language. Within this particular exhibition, the sculptures spell out the word: ROLES, questioning our individual responsibilities within a state of sometimes inarticulate change. On their own, the pastel sculptures employ humor and play through physical articulation, with works such as Little Finger and Spurts. While the sculptures stand alone as works of art, they are also functional as furniture, and a call to the body as home.
Turn the Page invites the viewer into the exploration of new expression in a changed world, and an opportunity for both collective and individual change within the landscape we begin to pave as we emerge from a year of turbulent transitions.