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Banner Repeater presents Disassembled Horizon and To unmap the terrain: A presentation of Artist's publishing in Mexico

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30 May 2015 to 31 July 2015
Tue-Thu 8-11am; Fri 8am-6pm; Sat 12noon-6pm
30 May 2015 4-6pm
Banner Repeater
Platform 1, Hackney Downs Railway Station
Dalston Lane, Hackney
London
E8 1LA
United Kingdom
Europe
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W: www.bannerrepeater.org











12


Artists in this exhibition: Francesca Du Brock, Daniel Monroy Cuevas, curated by Fabiola Iza and initiated by Isaac Olvera


Disassembled Horizon is a collaboration between two young emerging artists currently living and working in Mexico City: Francesca Du Brock and Daniel Monroy Cuevas.

The video and textual work with voice over is a study in the commonplace experience of flying, but from a slightly altered state. As the pilot tries to adapt to the strange geometries and optical illusions present whilst flying under certain conditions, real and imagined elements come together in a disorienting simulation, where even the idea of flying becomes unfamiliar. Disassembled Horizon was commissioned by: Casa Maauad.

The work is accompanied by To unmap the terrain: A presentation of Artists’ Publishing in Mexico, developed by Fabiola Iza and initiated by Isaac Olvera and Ami Clarke on a recent residency at Del Chopo Museum, Mexico City.

Mexican Artists’ Publishing is indicative of the many beliefs that are often associated with the country: it is diverse, chaotic, and profuse; a complex topic to be explored. To ignore these assumptions could be unproductive as the publishing scene is reflective of many positive aspects of the Mexican artworld – bustling and energetic, often collaborative in nature, and incredibly dynamic – with long-standing and systematic flaws – mostly that emerge from an unstable institutionality that causes a precarity to any longterm Artists’ Publishing endeavours.

Throughout the following few months at Banner Repeater we will be asking questions that relate to scale: should this kind of under recognised production scale up or should it remain in the margins? Would the diverse and lively nature of this production be jeopardized by such change in scale and the growing interest in it? Or, conversely, will it continue being diverse, chaotic, and confusing, but just more of it? My purpose is not to conduct a study on the current production of artists’ books, but more of an attempt to enable an ‘un-mapping’, that is, of looking at this profuse production with no intention to make sense of it, but to deal with its complexity and contradictions as they exist.

To unmap the terrain text: Fabiola Iza

 


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