The Landscape Burns

Sergio Arriaga
Luciana Castaneira
Pablo Tut

Uncertainty is a constant, which, like fire, is completely unpredictable and at the same time: manipulable. Nothing is safe; We are going through a drift in which the whole world has realized that everything it believed to be true has almost collapsed to the ground. In turn, maybe after all, it is; a series of truths have appeared as now immovable, and a time that seems to be from the first moment corresponding to a new era.

This exhibition contemplates the recent production of Young Artists from Yucatán, whose work explores themes that should be of specific concern to the region; a powerful gesture to reconfigure our unpredictable reality, which, like fire, can be controlled although it may, in an oversight, get out of control and reduce everything to ashes; However, we then remember The Landscape as an entropic apparatus, which after a crisis finds an order that defines it again; The concern for these changes is where the work of these artists is concentrated.

Erick Of Gorostegui


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Sergio Arriaga Pérez

Luciana Castaneira

Pablo Tut

Sergio Arriaga Pérez | 1995

The explorations that Sergio Arriaga makes in the Landscape, occur after long journeys in the same, as a result of these journeys a series of drawings and videos occur that explore the notion of geography, language and matter; a kind of safari that seems to give us away a fetish for the South as well as a concern for how this territory is transformed, built in part by the memory that reproduces it.

Luciana Castaneira | 1994

The drift for artistic creation occurs in the practice of Luciana Castaneira organically, as well as the act of processing an image through the gaze, the electronic apparatus and the imaginary of memory and its reconstruction through painting, or well, in ceramics and graphics. The Landscape in its material form is constructed in Luciana's recent work, by portraying the wear that occurs in it: stones that have been found eroded by the weather, or fragments of glass that in a past life belonged to a window, or to a car windshield.

Pablo Tut | 1992

Pablo Tut's artistic production has a sharp social character; in it are a series of critical discourses in which he questions geopolitics, neo colonialism and the ways in which space, landscape and the way we look at it are arranged. Housing then appears as a theme within his criticism: the dwelling house and the stagnant dream of modernism, where progress is proposed without an apparent end; houses that repeat themselves as far as the eye can see, as evidenced by the Mirador Metafísico Infonavit (2017) viewpoint, where the artist installs a scaffolding tower on the roof of his house from which to access this landscape.