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The Museo Tamayo in Mexico City presents three new exhibitions that belong to the museum's redesigned curatorial program, which focuses on the investigation of the institution's artistic archive by establishing direct relationships with contemporary practices. The exhibitions cover a vast arrange of topics: from the retrospective analysis of the work of the late Chilean artist Juan Downey, moving on to the new proposals of Mexican artist Carlos Amorales, or the creation of an in situ project by Argentinean Amalia Pica.

Juan Downey. A Communications Utopia presented at the Museo Tamayo gathers a significant selection from the Chilean artist's major bodies of work. Most of the examples shown are articulated under the idea of feedback as a structural aspect that was constant throughout Downey's entire production. His work covers a wide range of practices and mediums: drawing, installation, video, and painting. Likewise, it addresses a series of complex issues, very current at the time, about the use of new technologies in art and the implications this would have in terms of its reach and production of meaning. Juan Downey was a pioneering figure of video art in a moment in which the medium was just beginning to be utilized by artists, who saw in it enormous potential. His cybernetic utopia proposed a radical reformulation of the relations between man and technology, made manifest in the selection of works included in this exhibition, which present Juan Downey as a thinker, of visionary and advanced ideas, aware of the complexities of his time.
Curator: Julieta González

Carlos Amorales. Germinal brings together a series of pieces, some which were created especially for this exhibition, showing a new stage in the work of Carlos Amorales, who has developed a graphic language that detaches itself from the compression and fragmentations of images compiled in his Liquid Archive, a project that he developed for more than ten years. This process gave rise to a codified alphabet, to which we do not initially have access, but whose plasticity locates it at the limit between image and sign. This language is used in traditional printed formats like posters, books or newspapers. Nevertheless, in exploring media like sculpture and video, these works question the use of language and its limits, provoking the observer to wonder about what happens when language becomes inaccessible.
Curator: Magnolia de la Garza

A  ∩  B    C  (A intersection B intersection C) is the project Amalia Pica proposes to the Museo Tamayo, which responds to the museum's space. A ∩ B ∩ C takes its title from the language used un set theory, in which the symbol refers to elements shared between two or more groups of objects. >From the idea of the artist that a narrative changes the perception of certain geometrical or abstract forms, Pica proposes the intervention of performers at Museo Tamayo. The artist aims to humanize these forms when they are manipulated by a group of people who create different combinations using the figures, allowing communication between the various objects. The figures, no longer isolated entities, become part of a conversation struck up by those performing the action, involving them in a non-verbal dialogue.
Curator: Magnolia de la Garza

Museo Tamayo
Reforma y Gandhi
Bosque de Chapultepec
Del. Miguel Hidalgo, CP 11580
México D.F. México

Phone +52 55 5286 6519
www.facebook.com/museotamayo   -  Twitter @museotamayo

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