Naturalia - opening

Sunday, November 17, 12-4pm
YAM Gallery, Instituto Allende, Ancha de San Antonio 20, Int. 1
Free

Naturalia - opening

You are invited to join us for the inauguration of NATURALIA. This group show gathers the work of 17 artists.
For the very first time, YAM Gallery opens the exhibition on a Sunday afternoon. Please join us for a cup of coffee or a glass of white wine with the artists on Sunday the 17th of November, from noon to 4pm.

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Están cordialmente invitados a la inauguración de NATURALIA, exposición colectiva que reúne el trabajo de 17 artistas en YAM Gallery.
Por primera vez, YAM Gallery propone un evento de apertura un domingo en la tarde: vengan a tomar un café o una copa de vino blanco con los artistas presentes el Domingo 17 de Noviembre, de las 12pm a las 4pm.

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Los artistas ////// The artists:
Marcela Armas, Dirk Bakker, Sofía Echeverri, Daniela Edburg, Gilberto Esparza, Francisco “Taka” Fernández, Charles Fréger, Fabien Granet, Nicolas Jaoul, Cisco Jiménez, Carlos Pez, Constanza Piaggio, Ivan Puig, Romain Sein, German Tagle, Cristián Velasco

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Naturalia is the title of the next exhibition to be inaugurated at YAM Gallery on Sunday the 17th of November. This group show gathers 17 artists invited to think about nature and our relation to it. Naturalia is the most extensive exhibition organized by YAM Gallery in San Miguel, with artists from Mexico, Chile, Argentina, Holland, USA and France. It will propose a great variety of techniques and formats: photography, drawing, painting, installation, video and sculpture displayed on the two floors of the gallery.

The aim of Naturalia is to give the artists a space to show their link to the natural environment in view of the ecological collapse our planet is facing. The artists have delivered different forms of expression, including the most patent way to refer to nature in art: landscape. This classical genre is revisited in photography, painting, video and drawing. Other artists will show more literally the footprint of humankind in the territory, as in industry or culture for example. An other group of works could be gathered under the genre of satire. Indeed art is a tool to protest against the causes and consequences of climate change, and a humorous picture is sometimes more efficient than many words to create awareness.

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Naturalia es el título de la próxima exposición colectiva que se inaugura en YAM Gallery el domingo 17 de noviembre 2019. Esta muestra reúne el trabajo de 17 artistas invitados a reflexionar sobre el tema de la naturaleza y su relación con ella. Los artistas provienen de México, Chile, Argentina, Holanda, EEUU y Francia. Se presenta una gran variedad de medios y formatos: fotografía, dibujo, pintura, instalación, registro de performance, video y escultura.

La intención de Naturalia es de dar a los artistas, en el contexto del actual colapso ecológico, un espacio para mostrar su vínculo con la naturaleza. Las expresiones artísticas que surgen de esta reflexión son diversas: el género clásico del paisaje es el más evidente y se declina en fotografía, pintura, video y dibujo. También surgen las ilustraciones satíricas de los efectos y de las causas de la destrucción del ecosistema. Otros artistas trabajan con la presencia del hombre en el territorio y su huella cultural o industrial.

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Dirk Bakker’s Reading H2O, The Grammar of Water

Glen Mannisto

Water becomes rain, snow, steam, tears, spit, piss— the ultimate primeval matter, and is continuously so. Formless and incomplete until described by containeror condition, water is hauntingly cinematic in its ceaseless change. Dirk Bakker’s photographs of water chart the illusive ghosts inhabiting the planet that give articulation to water. Wind, heat, light,gravity tides are the phantom sculptors of his H2O and what better scrivener than Bakker, this nomadic Dutchman, who grew up in Amsterdam floating on wooden clogs, who kept his eye upon the dike, to sit vigil in his quiet hours and parse the voluble sentences of the sea.

He recently said, “Forever I’ve walked that sea coast: watched the waves, the horizon, the birds, read the clouds, the sand. Then one day a few years ago I tripped. I looked down and it was a patch of water that I had tripped on and finally I saw it. It changed everything. I needed to find a way of reading the water.”

Dirk Bakker, who spent a career as a studio photographer becoming a master of photographing celebrated art at a world class museum, was profoundly informed by the inspiration of art for ways of seeing. His eye is honed well. Among his many divertissements, he also canvassed cities for graffiti to photographically preserve the memory of these, sometimes amazing, transient paintings. His project on contemporary Mexican folk murals—Murales Populares— in the Yucatán was an extraordinary travelogue and as fast as he could document this fragile art form, they were painted over by Modernist
renewal.

Traveling all over Mexico to see, photograph and recreate, he also composed complex, 360 degree panoramic collages he called “Gardens”, assembling thousands of pointillist-like images of the great Mayan ruins.

Bakker’s photographs isolate and capture moments of water’s completely unimaginable, shapeshifting elegance: in these eight new monumental images (titled by their exacting longitude and lattidude
location) striated patterns of mercurial light with sculpted shadow are drawn by winds and yawning surf; tides rake the sea into foaming troughs like furloughed farm fields; lunar driven tides organize uncanny water surfaces into an enormous organism; beautifully chaotic eddies and whirlpools are hauntingly punctuated by a face-like form looming out from its bubbly depths.

Bakker’s water is fraught with an emotional tenor that the gray scale of shadows makes melancholic. Another appears to be a macroscopic image that suggests the unknown of the infinite universe, probably
a square foot of ocean surf, with its flickering spots of color—sunlight trapped by bubbles — messengers of the surrounding existential, galactic loneliness.

Like clouds, each of Bakker’s uncanny images can be read metaphorically or equally as objectifying images of the strange natural physics of primal matter. Either reading is profoundly engaging and profoundly correct.

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