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This exhibition brings together modern and contemporary artists who find their inspiration in the archaic, the cosmic and the mythological as possible scenarios for imagining the future. In contrast to science fiction and technology, in these works the signs that foreshadow the fate of history are the telluric, the material, the ancient and the spiritual. The future is proposed, therefore, as a temporality based on archetypes and universal meanings that are cyclical in art.
Olga de Amaral, Frederic Amat, Kenneth Armitage, Herbert Bayer, Martha Boto, Álvar Carrillo Gil, Eduardo Chillida, Alexandre Estrela, Luis Feito, Mathias Goeritz, Adolph Gottlieb, Juan Guzmán, Barbara Hepworth, Lothar Kestenbaum, Roberto Matta, Joan Miró, Joan Mitchell, Henry Moore, Zoran-Anton Music, Louise Nevelson, Isamu Noguchi, Hiroshi Okada, Gabriel Orozco, Damián Ortega, Irma Palacios, Wolfgang Paalen, Arnaldo Pomodoro, Gio Pomodoro, María Assumpcio Raventós, Mark Rothko, Wojciech Sadley, Susana Sierra, Melanie Smith, Pierre Soulages, Fernando de Szyszlo, Kiyoshi Takahashi, Antoni Tàpies, Wolfgang Tillmans and Mark Tobey.
Curator: Andrea Torreblanca
Curatorial Assistant: Lorenza Herrasti
Collection Museo Tamayo Arte Contemporáneo / Fundación Olga y Rufino Tamayo
Exhibition views:
Photographs by Gerardo Landa and Eduardo López (GLR Studio)
Para socializar la heterogeneidad de voces que construyen la exposición colectiva OTRXS MUNDXS y profundizar en el discurso de las obras exhibidas en el Museo Tamayo, le pedimos a lxs artistas que nos hablen acerca de los conceptos o ideas que son importantes para expandir los discursos o motivaciones de su práctica.
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Niñeces entre 6 y 12 años de edad están invitadas a disfrutar el viernes de consejo técnico de noviembre, indicado por la Secretaría de Educación Pública, en una sesión dedicada a crear historias a partir de obras de las exposiciones Alien Queen/ Paraíso extraño y Futuros Arcaicos. Los participantes ejercitarán su imaginación, habilidad fundamental para apreciar y gozar el arte así como para fortalecer tanto el pensamiento creativo como la empatía.
Mediadores del Museo Tamayo animaremos y acompañaremos a las niñeces en la creación de su propio cuento ilustrado, integrando personajes y paisajes que encontrarán durante las visitas lúdicas que haremos por las exposiciones; crearán así una memoria de la visita.
A la par trabajaremos, de la siguiente manera, habilidades artísticas que ampliarán el abanico de recursos creativos y expresivos de los participantes:
Consideraciones importantes
The public program of the exhibition Archaic Futures includes different participants, whose practices approach the themes that cross the exhibition: mythology, spirituality, the cosmic and possible scenarios for imagining an uncertain future. The activities take place in the Agora of the exhibition space.
La Sonic Encyclopedia It is a project that is nourished by various recordings, it is a sonic and musical journey through more than 30 years of recordings made by Leo Heiblum around the world. The mix of places, times and moments creates a new space: a listening that imagines future from the archaic point of view.
Heiblum will be presented with a second volume of its auditory research process. Like the exhibition, this immersive listening experience brings together sounds that are born from the root, from the telluric, from the spiritual and from nature. Far from a future dominated by technology, these sounds use it to interweave and create an imaginary territory composed of all those moments that transport us to past presents, future pasts and archaic futures.
Leo Heiblum he is a composer, engineer and music producer. He studied piano, Indian table, jarana, composition and recording engineering. He has always dedicated himself to music and has built his career by composing and producing music for various audiovisual media, in particular for the cinema, an area where he has participated in more than 40 feature films.
He plays table, percussion and jarana in groups with different musical styles, such as Suso & Glass Quartet, Los Shajatos, Pare de Sufrir, La Operación Jarocha, Wako Texas, Moondogma and, recently, with Patti Smith and Sound Collective. He worked as an engineer and musical assistant to Michael Riesman and Philip Glass, with whom he continues to collaborate to this day, now as musical producer of the albums Concert for the Sixth Sun (2012) and Spirit of the Earth (2018) with Daniel Medina De la Rosa, Erasmo Medina Medina and Roberto Carillo Cocio, traditional Wixarikas musicians, and as music producer and performer in Suso & Glass Quartet in 2018.
For several years he has recorded and produced traditional music, especially son jarocchio. He has seven recordings of this musical genre released by his label Belurecords. He collaborated as composer and producer of the albums The Peyote Dance, Mummer Love and For Adam, with Soundwalk Collective and Patti Smith. He presented the audios of these albums at the exhibition Evidence, at the Pompidou Museum in Paris, in September 2012.
Sonic Encyclopedia is his most personal project. It consists of creating music using only the recordings he has made around the world since 1993. The first volume of this project was published in April 2024.
Partiendo de la idea de que el espacio planetario está completamente adjudicado como instrumento del capital, la artista buscará imaginar las consecuencias de pretender que la siguiente frontera del capitalismo avanzado sea el tiempo.
En su práctica artística, Julieta Aranda compone encuentros con la naturaleza del tiempo y la literatura especulativa. De esta manera, observa la alteración de la relación entre el ser humano y la tierra a través de una lente multidisciplinaria, analizando la ciencia y la tecnología, los procesos naturales, los cambios ambientales provocados por el hombre, los encuentros con múltiples especies, la inteligencia artificial y las subjetividades colectivas. Al trabajar con instalaciones, video y medios impresos, se dedica a explorar el potencial de la ciencia ficción, las temporalidades “de otro modo” y la "poética de la circulación". Sus proyectos desafían los límites entre el sujeto y el objeto, al tiempo que abarcan encuentros casuales, autodestrucción y procesos sociales. También es editora de la revista e-flux y codirectora de su plataforma online desde 2003.
Esta acción colectiva en el marco de la exposición Futuros arcaicos se sitúa en umbrales temporales en tanto aborda la emergencia de estar frente al tiempo bajo distintos ritmos, algo que permite reconocer diferentes tipos de sensibilidades de las relaciones entre nosotros y con otros materiales y vidas que forman parte de nuestro entorno.
La acción se realizará con la participación de los espectadores, quienes harán girar el tiempo a través de relojes en los que semillas de diferentes especies darán cuenta de la temporalidad. Las variaciones de ritmo de acuerdo a los materiales mostrarán cómo hemos ido transformando los procesos naturales, sea a través de la siembra o la reproducción de la naturaleza, para acelerarla a nuestra conveniencia.
Del mismo modo, se revisarán algunos textos y reflexiones de Hildegarda de Bingen para recuperar la noción de jardín en pensamiento, es decir, la vegetabilidad cósmica frente a la devastadora deforestación que desde la era del capitaloceno ha llevado en tiempo récord a la crisis mundial en la que nos encontramos y de la que ya no hay regreso.
Umbrales propone una reflexión sobre cómo reorganizar el tiempo y nuestras relaciones con el entorno para cambiar la forma en que respiramos, con un nuevo ritmo.
Diálogos con el tiempo: Umbrales
Dirección: Juliana Faesler
Concepto: Juliana Faesler e Itandehui Méndez
Coreografía: María Brezzo
Participan:
Clarissa Malheiros, interprete
Paulina Álvarez Muñoz, voz
Narda Belinda Moreno, voz
Sol Sánchez, voz
Mariana Chávez-Lara, músico
Juliana Faesler (SNCA 2023-26) es directora, dramaturga, diseñadora de espacios escénicos e iluminadora, y trabaja en el ámbito de las artes escénicas desde 1994. Desde hace más de 25 años dirige junto a Clarissa Malheiros La Máquina de Teatro, compañía mexicana de artes escénicas que cuenta con una larga y continua trayectoria en la producción y creación de espectáculos de diversos formatos, siempre buscando el intercambio y las relaciones entre las diferentes disciplinas de las artes. La compañía trabaja desde una perspectiva femenina, ambientalista, comprometida con la infancia y con el desarrollo social y comunitario.
El programa público de Futuros arcaicos se nutre de diferentes colaboradores a partir de sus prácticas, intereses e investigaciones. Esta iniciativa se desarrolla en un foro dentro del espacio expositivo y propone diferentes aproximaciones con invitados de perfiles multidisciplinarios.
El archivo Tamayo es un cumulo de información que apenas ahora empezamos a vislumbrar, una línea recóndita para la activación de ese dispositivo cultural será la actividad menos conocida de Rufino Tamayo, su gusto por la fotografía y el cine aplicado a sus frecuentes viajes. Sin embargo, en esa actividad casi lúdica, de fotografiar paisajes y situaciones, subyace una mirada intensa y refinada. Esta conversación entre Juan Carlos Pereda, subdirector de colecciones del museo, y el artista Iñaki Bonillas, trata sobre una delgada línea de interpretación sobre ese aspecto del acervo.
The Public Program of Archaic Futures is composed of various participants whose practices resonate with the themes of the exhibition, such as mythology, spirituality, the cosmic, and possible scenarios for imagining an uncertain future. This initiative takes place in a forum within the exhibition space and offers different approaches with guests from multidisciplinary backgrounds.
For this session, the ensemble Mice Corpus, led by Emilio Hinojosa, is presented. The piece is designed for six instruments (violin, viola, cello, double bass, trombone, and 4-channel electronics) and proposes a sonic process in which all the musicians hum the same rhythmic cell. As the piece progresses, this humming becomes fragmented, mutates, and varies, creating a sonic tapestry where the different hums intertwine and transform into a rich complexity of counterpoints and dynamics. The result is a sonic evolution that reflects how, in everyday life, automatic and seemingly simple actions can form a profound and dynamic musical structure, symbolizing human resilience and adaptability through the act of humming.
MICE CORPUS is made up of well-known musicians dedicated to contemporary concert music and experimental music: Leonardo Chávez, violin; Diego Gutiérrez, cello, Alejandro Motta, double bass; Chris Cogburn, percussion; Iván Naranjo, electronic. MICE CORPUS was initially formed in 2019 with the sole intention of making the piece The Queen of the South by Alvin Lucier, for that year's edition of the UNAM Vértice Festival. In August 2022 they presented the premiere of Telepathy by the Mexican composer Emilio Hinojosa, written for the ensemble and in 2023 they did, together with Gamelán Smoke of Time, a tribute concert to Alvin Lucier. Currently, MICE CORPUS is working on a repertoire oriented towards experimental music, open work, interdiscipline and free improvisation. Whether in the concert hall, in alternative spaces, domestic or public spaces, their objective is to hold memorable concerts and address little-heard repertoire. They have been presented at the Festival Vértice/UNAM, the El Eco Experimental Museum, the Cultural Center of Spain in Mexico (CCEMx) and at Casa Morisca.
Emilio Hinojosa Carrión He is a composer, studied at the Tchaikovsky Conservatory in Moscow, under the tutorship of Constantin Batashov and Nicolai Grigorov.
Chris Cogburn He is a percussionist, working mainly in the field of improvised music. His current practices focus on the threshold between acoustic and electronic sounds, their different timbral qualities and their sites of resonance.
Iván Naranjo studied at the Conservatory of Roses, has a master's degree in Experimental Music from Wesleyan University, and is a Doctor of Composition from Stanford University. Much of his work is written for chamber ensembles, but extends to installation, algorithmic composition, live electronics and improvisation.
Diego Gutierrez is interested in a wide variety of languages in the academic repertoire, contemporary and classical chamber music, experimental and improvisation. He studied cello with Rolando Fernández at the Celaya Conservatory of Music and with Keith Robinson for his master's degree in performance at Kent State University, Ohio.
Alejandro Hernández Motta is a double bass player with more than 10 years of experience in orchestras. He is currently part of the contemporary music ensemble CEPROMUSIC (INBA), the UNAM Composition Workshop Ensemble —where he collaborates with composer Ana Lara and conductors Claudio Valdés Curi and Rodrigo Vázquez— and the orchestra of the production “Into the Woods”, under the direction of Miguel Septién.
Xavier Frausto is originally from Real de Asientos Aguascalientes Mexico. From 2013 to 2016 he studied classical trombone, jazz, and musicology in parallel at the Conservatory and the University of Strasbourg in France, and from 2016 to 2018 he studied improvisation with teachers Fred Frith and Alfred Zimmerlin at the Hochschule für Musik in Basel, Switzerland.
The exhibition Archaic Futures It has a space inside one of its rooms that houses proposals by artists, musicians, poets and people with unique interests in the face of an uncertain, archaic future. The next conversation at the Agora of the exhibition will be led by Nolan Oswald Dennis.
The practice of Nolan Oswald Denis, an artist from Johannesburg, South Africa, explores “a black consciousness of space” as well as the material and metaphysical conditions of decolonization. Through a language of diagrams, drawings and models, they examine the hidden landscape of systemic and structural conditions that organize our political sub-terrain.
The exhibition Archaic Futures brings together modern and contemporary artists who find their inspiration in the archaic, the cosmic and the mythological as possible scenarios for imagining the future. The public program of the exhibition, which takes place in an agora within the exhibition space, proposes different approaches with guests with multidisciplinary profiles.
This conversation brings together María Minera and Luis Felipe Fabre to discuss the ideas of the exhibition Archaic Futures from the perspective of poetry, art history and, in general, from the modest knowledge of the world in which they have lived.
María Minera is an art critic and independent researcher.
Luis Felipe Fabre is a poet and essayist; he has been a professor of literature and has written in multiple cultural supplements, newspapers and international magazines.
