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








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THIS IS WHAT DEMOCRACY LOOKS LIKE
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.






SEGÚN YO, SEGÚN TONY
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.



NO ES EL ARCO NI LA FLECHA
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).