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

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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.

Jonay P. Matos
September 28 to October 31, 2019
According to
Me: ¿Who cares about an original?
According to
Tony: Kill lies all.

“In spite of appearances to the contrary, men lose affection for paintings, sculptures and poetry. Human beings have now set their hearts on completely different things: machines, scientific discoveries, wealth, mastery of natural forces and extensions of the earth. They no longer feel art as a vital and spiritual necessity, as it happened in the past centuries. Many of them continue to act as artists and make art, but they do it for reasons that have little to do with true art, they do it under the spirit of imitation, because of tradition, by inertia, a love to show off, as a luxury, because of intellectual curiosity, to follow a fashion or by calculation.”

Fragment of the book  “A Visit to Picasso” (Or About The Ened of Art)”. The Black Book. Giovanni Papini. 1959.

Perhaps Giovanni Papini was not mistaken when putting voice to Picasso, he said that in the future the heart of the people would be in other things such as machines, scientific discoveries, wealth, mastery of natural forces and extensions of the earth, and before this the artists would only have two outputs: have fun and earn money.

The internet (specifically, social networks) is the starting point for this project and the gallery space is the large canvas where works of different nature coexist and become part of a whole. A scenography, where no element is individual or original if it does not belong to the set, to a theatrical imaginary, where the artist conceives a kind of idea of himself and lets the viewer project his own idea of what he is seeing, without questioning the depth of that reality but by deepening the idea of perception that we have of ourselves through the social networks (and the ideas others have about us).

So, according to Tony: Kill lies there.

Phrase that graffiti artist Tony Shafrazi made about Guernica in New York, 1974.

Jonay PMatos' work mixes processes that are established between the artisanal and the digital. During this month of September 2019 Jonay PMatos has used the space at Daniela Elbahara, as a canvas where creation, play and fun come together. On an individual basis or in collaboration with other artists PMatos has created various works that are also documented with photo and video.

On Friday, September 28, 2019 the imaginary of this artist will be presented in this space that questions the psychological aspect of the value of the image with which we project, often carefully studied and protected behind the screen, a lie that kills the original.