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Meyenberg reveals in Open Artwork House his manner of rearticulating a damaged world –

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Massive-format ceramic sculpture that’s a part of the mission Issues We Do For Love.Photograph courtesy of the artist

When every part has been damaged, the best way to transfer in such an alien world? rebuild it? paste the items which have remained? These are the questions requested by the artist Érick Meyenberg (Mexico Metropolis, 1980) on account of a month-long inventive residency at Casa NaNo, in Tokyo, Japan, sponsored by Fundación Casa Wabi.

Final yr, Meyenberg made the piece past the bushes for the reopening of the Tamayo Museum, which gave its title to the exhibition commemorating the fortieth anniversary of the location.

The brand new mission Issues We Do For Love, multichannel video set up with 5 screens, in addition to a large-format ceramic sculpture, are exhibited within the Espacio Arte Abierto gallery. The thought for the video set up arose when Meyenberg returned from his keep in Japan. At the moment, the artist started to know the look by the lens of his digital camera as the one device out there to heal a private historical past.

Throughout visits to the cities of Kyoto, Kanazawa, Hiroshima, and Naochima, Meyenberg captured moments of life seemingly unrelated to one another. As she seemed by what her digital camera framed her, she says one phrase resonated in her thoughts: “issues we do for love” (issues we do for love). Again in Mexico, the visible fragments from Japan had been joined by others taken in Los Cabos, Valle de Bravo, Acapulco and Ixtapa, in addition to the sequence of some cicadas of their metamorphosis course of, taken from the Web, which accomplished the visible archive that now compose the pattern video.

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For Meyenberg, the good accumulation of photos that documented tons of of moments, conditions or locations, represented a damaged and disjointed world. Thus, united by enhancing, it meant remodeling the imaginative and prescient of the torn right into a promise of life.

Primarily based on kintsugi, a Japanese philosophy that repairs damaged objects and sticks their fragments with gold mud, the artist discovered the proper metaphor to summon his archive of photos and type the video set up made by the editor and filmmaker Martha Uc. The piece is accompanied by digital music, made in collaboration with the musician Roderic.

The big-format ceramic sculpture, made on the Cerámica Suro workshop in Guadalajara, presents a dismembered flower. After filming a chrysanthemum on the bottom of a cemetery in Japan, after a hurricane, the thought of ​​a sculpture emerged that recovers the energy and motion of the water and the ocean that seem in a lot of the video, and whose colours mirrored love and eroticism.

Based on the artist, the sculpture needed to rise from the bottom, simply as Aphrodite rose from the waters. Each the petals and the area between them turn into the kintsugi, or gold mud, which binds them collectively, and types a part of the intervention of the sculpture.

Issues We Do For Love It’s exhibited within the Espacio Arte Abierto gallery (Artz Pedregal, Periférico Sur 3720, Jardines del Pedregal).

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