Good times in Mexico City.
WTT? Goes SoTB
MEXICO, D.F.– Last week art world snowbirds descended upon Mexico City for the biggest Latin American art fair outside of Art Basel Miami Beach. While ZONA Maco, now in it’s 11th year, is obviously the big fish, 2014 also saw the launch of MACO’s first satellite, the ambitious Material Art Fair. We couldn’t stand the idea of missing out, so WTT? headed down to Mexico City to experience the fair scene in DF first hand. Armed with recording equipment and having just watched an Anthony Bourdain program on Mexico City, we were off.
The colonia we stayed in, Condesa, was just west of the center of the city and felt like a way cooler Logan Square. Nice apartments, lots of cute cafes, tons of bars and restaurants. Everyone, including Bourdain, told us that tacos al pastor were the best. We ate like a million immediately at a place closest to our airbnb. We briefly made it to the opening of Material Art Fair and after a comically unsuccessful attempt to go to the after party we ended the night at a dank little bar with heavy red curtains for doors called BÃ³sforo.
First up. MACO, the monolith, was just that. It featured all of the usual bells and whistles: a massive convention center, an artsy partnership, a myriad of sponsors and all of the regulars. MACO also wins the award for worst branding and website possibly ever.
Fancy seeing you here.
Finally, something that even I couldn’t kill in the design section at MACO.
To be fair to the fair, we did discover a couple of sweet Mexican galleries: O.M.R., Kurimanzutto, LABOR and House of Gaga. Apart from the local galleries, Nuevas Propuestas, the smaller single artist booths were the most interesting. Featuring younger artists and more comprehensive views, we spotted work by one of our fav Miamians, Leyden Rodriguez-Casanova, at Alejandra von Hartz’s booth. Rodriguez-Cassanova’s precise assemblages of screens, 2×4’s and vertical blinds felt oddly appropriate in the setting of the hastily constructed booth partitions.
Work by Rodriguez-Casanova in the Alejandra von Hartz booth.
We also loved seeing new work by Leonor Antunes on view in the “curated” section, Zona MACO Sur, with Marc Foxx gallery. Attracting our attention through the labyrinth of drywall, her bronze hanging work based on Anni Albers’ textiles were just the right amounts delicate and gold. Bonus points for having the most impressive rigging in the fair. The scaffolding supporting the works were tied with thick black ropes around the convention center’s ceiling vents.
Work by Antunes in the Marc Foxx booth.
The VÃ¡zquez at Odabashian.
On the way out we met the charming father and son team at Odabashian, who were only the millionth people that day to advise us to visit the Museo Nacional de AntropologÃa. One of their rugs was even designed by Pedro RamÃrez VÃ¡zquez, the architect of the museum. In retrospect, you can totally see the repetitive polygonal facade of the museum in the gold and silver geometric pattern of the rug.
Before leaving Condesa for downtown on Saturday morning we walked to House of Gaga in Condesa and then O.M.R. in La Roma just to the east. On the way we grabbed the most amazing cornbread I’ve ever eaten from a bakery/cafe called Maque. It was my favorite breakfast in DF and really cemented our love for our temporary home of Condesa. Over at House of Gaga, Emily Sunblad’s en plein air paintings of elephants and jaguars at the Santa Barbara Zoo were just as delightful as the cornbread. Less delightful were the various cuts of meat placed throughout the gallery, but I was really feeling the dresses and the casual floral still lifes in the back. We also heard that musician Matt Sweeney performed with her at the gallery and was spotted at BÃ³sforo during the fair. If you’re interested, the performance audio (which was avaiable on USB’s throughout the gallery) is also on the gallery’s website. The exhibition was House of Gaga’s first in their new space, the paint was still fresh and made our head buzz.
Work by Sundblad at the House of Gaga gallery.
A wall of happiness at Maque.
Facing the Plaza de Rio de Janiero and a gigantic bronze David replica, O.M.R. is easily the most grandiose gallery space I’ve ever been inside. Mexico City is terraformed and like many of the old buildings in DF, the luxurious old house is sinking back into the swamp. From the moment you open the iron gate into the ornate white staircase it’s on. I’m convinced that the gigantic marble slabs rigged up by Jose Davila for his exhibition only enhanced the effect of the sloping floors and vise versa. Also on display were some wild old James Turrell work from his Mendota Hotel period in the early 1970s.
Can I just live here already!?
Cristobal Riestra in front of work by Jose Davila in the O.M.R. gallery.
The main galleries were impressive but I was most partial to Pia Camill‘s work in the project space adjoining the main gallery. Her bright abstract curtains with sumptuous blues hanging in front of windows and throughout the gallery were complemented by the large shapely ceramic works and painted walls. Despite the massive population of the city, the art world in Mexico DF feels roughly Chicago-sized, so we weren’t too surprised to discover that Francisco Cordero-Oceguera, the artist behind Lodos ContemporÃ¡neo also has a gig as Camill’s assistant. The bookstore downstairs was pretty cute too. We found a kids book designed by Niki de Saint Phalle called Malo Malo that I only wish I had as a toddler.
Pia Camill at O.M.R.