Ecco il progetto del Padiglione Messicano che quest'anno sarà all'Arsenale.
Mexico and Venice share and yet differ from their own condition as amphibious cities.
Their urbanization histories and mutation rhythms vary but there is also a ‘memory’ that connects them. The project starts from a specific idea: tracing the course across the venues that have hosted the Mexican Pavilion in Venice during the twenty first century. Recovering the value of the trace, violently reveals the relation between architecture and aquatic space, reflecting the power that obsessively ambitions to possess nature: city of canals, city of drains.
Tania Candiani is interested in strategies and practices of translation between linguistic, visual and phonic systems where there is a continuous yearning for the obsolete that conveys the discursive content of artifacts. She regularly integrates interdisciplinary collaborations in her work to obtain poetic intersections of language, the materiality of sound and the history of science. Selected exhibitions include: Five Variations of Phonic Circumstances and a Pause, Laboratorio Arte Alameda, Mexico City (2012) & KIBLA Festival, Slovenia (2014); The Future of Fashion is Now, Museum Boijmans Van Beuningen, Rotterdam (2014); Serendipia, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz (2013); Prix Ars Electronica Distinction Award for Hybrid Arts (2013); Sonorama: Hi-Fi to Mp3, Museo Universitario del Chopo, Mexico City (2013); XI Bienal de Cuenca, Museo de Arte Moderno (2011); Espectrografías. Memorias e Historia, MUAC Museo Universitario de Arte Contemporáneo, Mexico City (2010); XI Cairo Bienial, Palace of Arts (2008). Candiani is a Guggenheim Fellowship Recipient (2011).
Luis Felipe Ortega graduated from the Faculty of Philosophy at the National Autonomous University, UNAM. From his early work he has traversed reflections and speculations concerning time, space and silence in continuous reference to philosophy and literature. He has ventured into various languages and media (video, actions, sculpture and drawing) as resources to approach the present. Selected exhibitions include: (notes for the inclusion of silence), Marso Gallery, Mexico City (2013);God Only Knows Who the Audience Is: Performance, Video and Television Through the Lens of La Mamelle, CCA Wattis Institute for Contemporary Arts, San Francisco (2011); So It Is, Now Is Now, Laboratorio Arte Alameda, Mexico City (2010); IP Détorunement. Les rendezvous du Forum, Series Voir/Revoir: 2, Centre d’Art Pompidou, Paris (2010); 4th Prague Biennial, Karlin Salon, Thamova, Prague (2009); La era de la discrepancia, MALBA, Buenos Aires/Pinacoteca do Estado de São Paulo (2008); Before the Horizon, MAAC, Brussels (2006); After the Act, MUMOK Museum Moderner Kunst, Vienna (2005) and Gwangiu Biennale, Korea (2002).
Karla Jasso holds a PhD in Art History from the Faculty of Philosophy at the National Autonomous University, UNAM. For over fifteen years her work has explored the history of technology as well as the language of new media and art. Jasso is a member of the curatorial and programming committee at MUAC, University Museum of Contemporary Art, Mexico City. She was curator in chief at Laboratorio Arte Alameda, INBA (2007-2013). Selected curatorial projects include: Tania Candiani’sFive variations of phonic circumstances and a pause (2012) which obtained the Prix Ars Electronica “Award of Distinction” (Linz, Austria, 2013); Dynamic (In)Position organized by Festival de la Ciudad de México at Laboratorio Arte Alameda, Centro Cultural España and MUAC in collaboration with Ars Electronica (2010); Contra Flujo: Independence and Revolution, Rubin Center, University of Texas, El Paso (2010) and Distortions: Contemporary Media Art From Mexico, The College of New Jersey (2009). Author of Arte y Tecnología: Arqueología, Dialéctica y Mediación (WebPress, 2014), co-author of(ready)Media: Towards an Archeology of Media and Invention in Mexico (INBA, 2012); Machina- Medium-Apparatus, (in press, 2015).