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

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Jesi Jordan
Sept 13 to Oct 30, 2020

I believe that emotion, when it is not felt, is embodied and then impregnates the subconscious mind. My paintings act as emotional X-rays, where I paint images drawn from my psyche and then map where in my body the emotional memory breeds and bloats. These paintings are deep internal monologues that echo inwards.

In order to do this, I take a singular thought or feeling and divide and subdivide it into the many particles that make up my psyche. The eyes, ears, nose, breasts, mouth and mind are small psychic spirits with their own unique personalities, all have complex relationships with each other. The dynamics that occur between these small psychic spirits and the dynamic they have with each other, create the bias of how the big picture looks and feels.

In my paintings, there are two parallel universes, the larger experience is my current understanding of reality, and the smaller world within it is what creates that perspective. To give more context to the bigger picture, I am showing what I feel is happening from within.

Jesi Jordan

Virtual tour:

Álvaro Ferreira Navone
June 20 to July 18, 2020

An oasis revels itself protecting you from the ongoing flow of messagges beloging to the digital environment we live in. A word, a painting and a flower build this imaginary garden that you must make yours. Inside it you can see your reflection as if it was a mirror. Eight canvases of medium format and digital proportion (specifically the proportion of a mobile cellphone screen) create two separate spaces. These contain aphorisms that throw questions in the air that may well be familiar to any of us. All this is intertwined with flowers and plants, making he phrases difficult to read, forcing you to stop and observe closely.

Both the flowers and the quotes work as a meaningless vehicles for each person who reads them.They share a not so defined border. Both interlace, and make us stop and look in a carefree way. Just as we carry the memories of flowers and ideas, the aphorisms allow pick our own meaning.

Therefore, the flowers that you will see in the paintings were not chosen randomly. For centuries, flowers have become ambiguous and flexible symbols. The Egyptians used the same flowers for both mortuary rituals and other randoms moments of celebration (particularly bay leaf, olive, poppy or sunflower ). This is how they become containers of emotions, intentions or memories. Let's say that each person in a certain situation appropriates them to their convenience. Just as I want visitors to apporpriate my paintings to their thoughts. And this is how the oasis I was talking about is built!  From the personal field and formed by plants, phrases and memories. All on the same plane.

This also makes me think of the artist´s figure as the definitive author. In this case, doesn't the work end with each viewer? My scope is limited, and it is precisely the articulation of memories and feelings of each individual that completes each of these pieces.

In this body of work I try to give comprehensible instructions so you can see them as Fischli and Weiss said: "Like the decorations of a Christmas tree, you don't need them but they get you in a good mood"

IG: @afnavone

Dossier on PDF

Jim Ricks
January 25 to April 03, 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.

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.