In naming an exhibition after the Mexica pictograph denoting ‘place of,’ Ulrik López Medel prefigures a site wherein something may perchance take place. What this primordial premise presents is not merely an area and its arrangement or a show and its sections, but rather, how an entity becomes simultaneous to its parts, and more truly, what other substances a body may welcome, allow to occupy its entrails, and eventually amount to. ︎︎︎
Ileana Lee (born 1951 in Saravia, Negros Occidental, PH; lives in Honolulu, Hawaii, US) thinks of her sources as wells, hinting at a connection with space that extends far down but also up into the sun and skies under which she follows fortune’s call. The work of art suggests rather than defines, believes Lee, alongside a manner of living that is available to the passing moment and which lends itself patiently to much evocation. ︎︎︎
Around another hatching of haven, Halilaj unhardens the colonially-conceived homeowner, cradling more a host, through whose strewn artworks and visitors airs a dispossession as fulsome as a belonging, and from whose end to end comes full circle a refuge onto and from which one descends and takes flight. If that is the case, home might to an avian degree, be nothing but an occasion to land and take off. ︎︎︎
It is among the buildings that remain squat in a block where shoot up apartments serving Mexico City’s swelling population, a market taken on by the sector of real estate which the Spanish language draws up as bienes raíces or bienes inmuebles. If taken faithfully to their Latin source, the pairs of words move the idea of rooted or immovable goods and act as antipodes to the bienes muebles. As such, they draw forth a dualism deliberated upon one’s adherence to the ground, if not, one’s wakefulness to being furnished, moved, and to where. ︎︎︎
