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Contemporary Mexico City is a bit like early aughts Berlin: a chaotic yet profoundly mystical metropolis where syncretism and modernity co-exist in perfect harmony. Its arts scene, far from being confined solely to museums and galleries, thrives in the public realm: an Alexander Calder sculptureβone of the largest in the worldβsits outside a major stadium; a wall carved by Isamu Noguchi hides inside the Abelardo L.
Trying to understand Mexico simply as a geographical space would be misguided: Its cultural impact has far exceeded its physical limitations. An idea that permeates everywhere. In a few weeks, the city would be completely covered in pale indigo, signalling the anticipated return of Mexico City Art Week.
Thirty years ago, he played an important part in the shift from Mexican muralism to a more globally minded contemporary art, showing Donald Judd, Robert Rauschenberg, and Alexander Calder at a time when Diego Rivera, David Alfaro Siqueiros, and Frida Kahlo still dominated the Mexican art market.
These include the highly controversial Empty Shoe Box , from , previously exhibited at the Tate Modern, MoMA, and at the Venice Biennaleβwhere people threw money at it in bemusement. Its Porfiriato-era building, recently reimagined by acclaimed architects Alberto Kalach and Carlos Zedillo, was initially constructed as a private residence.
How do we deal with reality when machines have overtaken so many aspects of our daily lives? Norwegian-German artist Yngve Holen offers one compelling perspective.