The Jumex Museum explores the link between human bodies and social bodies

The Jumex Museum’s exhibition program includes three artistic proposals that share the exploration of the link between human bodies and social bodies, in relation to a territory formed not only by the physical, economic and politicalsaid Kit Hammonds, the venue’s chief curator.

He explained to The Day that it is about artists who have analyzed their work in relation to how we physically connect with the world, particularly with Americain this case the exhibitions Débora Delmar: Liberty & Security y Silhouettes on the weeds, by Minia Biabiany and five other artists, as well as the collage Clotilde Jiménez: The Grotto. An opera in two acts. Access to the museum is free.

The co-founder of the Index Art Book Fair in Mexico added that many of the themes in the pieces by artists Clotilde Jiménez, Ana Mendieta and Minia Biabiany They have effects that you can see in the territory and even before these influences. I refer to a type of coloniality in America, in particular not as a discourse about power, but an effect that we feel.

He highlighted the sensitivity in the works, not only visually and with information, but that show poetics that combine senses, sounds, to put roots of the human body on the earth.

He exemplified with the collective exhibition Silhouettes on weeds, where reference is made to the territory like weeds. It is a land full of roots, vegetation that intersects and is part of our world of experiences and thoughts..

Bodies and capitalism

This exhibition, which is currently on display and will conclude on January 5, brings together works by Minia Biabiany (Guadalupe, 1988), Vivian Caccuri (Brazil, 1986), Ana Mendieta (Cuba, 1948-United States, 1985), Nohemí Pérez (Colombia, 1962), Vivian Suter (Argentina, 1949) and Frieda Toranzo Jaeger (Mexico, 1988).

The latter said in a conference that her work is based on the questions of how the body is inhabited in capitalism and from where this economic system resides in us, given that it would seem like an eternal machine that even appears in the forecasts of the future.

He added that his pieces in this show revolve around the destruction of this system and the possibilities of joy while chaos occurs. His polyptych Times are coming to an end It addresses elements of a burning environment and various scenes of sensuality, games, flowers and plants, in which the embroidery technique was added, to elevate this practice that has been classified as a craft.

For her part, the artist Clotilde Jiménez (Honololú, 1990) commented that her performance piece The Grotto: An opera in two acts, It is based on a story that his wife told him related to supernatural beings from Mexican mythology; However, beyond the chaneques, it refers to a childhood experience in which migration and colonialism are interspersed.

He maintained that his opera – which he defined as a collage that mixes theater, video, performance and music – tries to question, from a magical figure, how we can experience miscegenation without abandoning traditions and where we have come from.

It will have live performances on November 23 and 27 at 7 p.m. At the same time, pieces related to the work are exhibited, such as sculpture and paintings.

Finally, regarding Débora Delmar’s exhibition, which will also end on January 5, 2025, this artist mentioned her interest in the relationship of dependency and hierarchy in the art world, which is transferred to the general environment of the world.

He said that he built exhibitions as a kind of curatorship in order to explore the relationship of objects and people in the capitalist system. The main piece includes a fence that will be open or closed, so that the way in which the movement of people is carried out in spaces such as the museum is evident.