El hogar es un lugar común

Pedro Chan
Melissa Dávila
Gladys M. Alayola
Gabriel Niquete

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Monday to Friday | 9 am - 6 pm
Saturday | 9 a.m. - 2 p.m.

The sense of intimacy occurs inside the home, like a kind of real dream that shelters us in the warmth of the sheets, close visions of daily situations that make us think about that, that should be fine. Yet a tension hints at something; Around us, everything seems to be ominously in disarray, like a silhouette waiting on the other side of the street, waiting for us to come out and follow us. A shadow that obscures everything that remains strange, settles on our shoulder and is called uncertainty. Not going out means not facing up, but that doesn't mean you don't think about it.

The home as a common place then appears as a theme and concern in this exhibition of young Yucatecan art; intimacy and the personal, afflicted and pointed out by the arts union as a banality, now occurs as a genuine concern; the personal is political and vice versa. Intimacy, memory, identity and reflection on feelings that pertain to one as a human being, are now a compelling theme that is addressed in the production of these artists.

Erick Of Gorostegui


Da click a un artista para ver sus obras

Pedro Chan

Pedro Chan


Melissa Dávila

Melissa Dávila


Gladys Méndez Alayola

Gladys Méndez Alayola


Gabriel Niquete

Gabriel Niquete


Pedro Chan | 1996

Intimacy, architecture, the gesture of being in it appears in the photography of Pedro Chan as a gesture of intimate registration, of a concern for the warmth of the everyday. Formed as an architect, but with a natural sensibility for register photography, Chan shows us a series of scenes, in the shape of which is a white, almost dreamlike architecture accompanied by a series of ruins that makes us think of layers of history.

In this series of photographs, Pedro Chan, in an almost documentary way, makes a genuine portrait of what he himself considers important: gestures of intimacy and belonging, men who seem to have spent a lifetime working on the portrait of themselves, homes that seem never have moved; identity then appears as an almost immobile gesture, and it is precisely in that stillness where the mystery of home is found.

Melissa Dávila | 1996

The landscape, the flowers and the act of finding them with the archive and the memory, are part of the task by Melissa Dávila in her artistic process. Same as its objective to find the The relationship of photography with the human being, how it goes through memory, defines the identity and finds it there, wondering in the comfort of a leafy garden, Are the Flowers a Trap? They look at us beautiful, perplexed.

Through a photographic file found, from his father, Dávila makes an announcement about the Mountains of Nuevo León, about knowing them in childhood and missing them in adulthood when looking at the Yucatecan flatness. A series of flowers that she has found in her garden serve the artist to explore nostalgia and how intimate it is, from the subtle gesture of these plants so small and apparently so fragile, that they evoke both life and their own strength in constant movement.

Gladys Méndez Alayola | 1995

Introspection, the personal and intimate that appears in the spaces, are the theme of the Paintings of Gladys Méndez Alayola, who through the use of fluorescent and luminous colors, makes us see this disturbing and diffuse reality, a busy night together with its neon lights. A reticle that is impregnated in our gaze, wherever we drag it and this strange gesture of we recognize there in that space, foreign to the familiar.

The way in which we perceive these spaces, such as lobbies, offices, receptions, at your instead of animals, insects and flowers; how they seem to result in a portrait of what is foreign to talk about the everyday; of the alienated to speak of the intimate. Méndez Alayola immerses us in painting of him as a dream with strident qualities, a nightmare that is not quite, a peaceful sleep that shelters us like a monster that we know to be safe and friendly.

Gabriel Niquete | 1992

Clay as a material, its own burning and the gesture of finding a gesture in the Mayan ancestors of identity and belonging to bring to the present are elements that are part of the recent sculptural exploration of Gabriel Niquete, who through rustic modeling processes, recreate contemporary visions of the aluxes, mythological beings whose purpose was to make mischief, the theft of shiny and sweet objects, in turn, that serve as guardians, before the milpa, now from home, because it is in its fields and its jungles where it is built.

The identity is revisited here, like a beautiful garden that has been beautifully decorated; What Guardian gnomes watch who lands on them, Nicket's aluxes safeguard the space with great caution, in turn with monstrosity, like a mirror of ourselves that we he has returned a puff, a fierce gesture that incites danger as well as caution. These Mayan beings explore the nostalgia for the depredated land, for the jungle that is now home and specifically, of the traditions that beautifully give us nostalgia.

Catálogo de obras de El hogar es un lugar común

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