The last time I reported on the Mexican cultural center in Paris was on Eduardo Zamora‘s exhibition last February. And very sadly, the magical painter died a week after his show closed, at 81, from heart failure. I regret not having visited his studio in the 13 th arrondissement, which he invited me to do. He was extremely charming and self effacing. This month, a series of contemporary photographers and artists are showing in the same institute a very interesting mix of political and environmental works. The pieces all come from the Famille Servais’ collection.
In the first room downstairs Naomi Rincon Gallardo shows “Opossum Resilience”, 2019, an artist born in North Carolina who lives in Mexico. She combines ancestral beliefs and Aztec goddesses from the Oaxaca region with contemporary aesthetics and shows a video and fun compositions with the theme of opossum.
Emilia Garcia uses all types of support to express herself and her engraved heart glass is irresistible. And so is the work of Fabian Chairez whose “Revolution” has become an icon of the gay community and was exhibited at Palacio de Bellas Artes in the show “Emiliano Zapata after Zapata”.
Andrew Roberts was born in Tijuana and works on the idea of Border between Mexico and the US and on ALENA, the North American Fee trade agreement. His images are violent and straight to the point with references to the dramatic influences of Amazon, Netflix, Apple, Google, Telecom, Walmart, Disney, who transform human. kings in to zombies. He is the most political of all the artists present with Yoshua Okon who shows “Canned Laughter “, 2009, a series of cans made in Mexico and ready to be commercialized in the US.
Photographer Daniela Rosse has extravagant and gross pictures from her series “Rich and Famous” which concludes this small exhibition with a big smile. Once more, Mexican artists prove how inventive and fun they are and the Institute is a refreshing venue on rue Vieille du Temple. (Until June 15)
Not far, on rue Debelleyme, it’s worth climbing to the third floor of Thaddaeus Ropac’s gallery to see the exquisite miniatures by Pakistanese artist Imran Qureshi, “Homecoming”. Using traditional techniques with a contemporary approach, the artist who lives inLahore introduces geometry, empty shirts and abstract motives in a cloud golden dust to replace the historical characters of classical miniatures. Until June 3, Thaddaeus Ropac.
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