• For its inaugural presentation, Campeche presents La Luz Proviene de Ahí, a group exhibition featuring new work by Mexican artists...

    Installation view of La luz proviene de Ahí, Campeche, Mexico City. Photo: Ramiro Chaves


    For its inaugural presentation, Campeche presents La Luz Proviene de Ahí, a group exhibition featuring new work by Mexican artists Alicia Ayanegui, Julieta Gil, Darinka Lamas, Berenice Olmedo, Paloma Rosenzweig, and Astrid Terrazas. Spanning media, including painting, sculpture, video and mixed media, the works on view explore concepts of activism, power structures, shared history, identity, and the human body. 







  • Darinka Lamas

    Limítrofe, 2020 

    Video monocanal 5’ 37’’

    Edición de 3 + 1 AP

    Darinka Lamas

    “What happens when that which is supposed to protect us, conditions our existence?” is a question at the core of Darinka Lamas’ practice. The artist reflects on the politics of space and comments on architecture as a heavily politically charged structure. Through a performative process that requires her to source found materials and debris from construction sites, Lamas creates cinder blocks by pulverizing and mixing such materials into brand-new blocks that can be reused to make a new home. They were born from questioning the life of old buildings that were once used for a single-family living, and due to gentrification and the verticalization of the cities, are now overpopulated. Like ruins forgotten in contemporary cities, these structures narrate the story of a city that has been renovating and rebuilding itself for centuries. “I have always been interested in the history embedded in the materials. They amass together hundreds of stories from past tenants and past lives,” the artist states. “I am constantly trying to amalgam all these stories together through my process and in my own time.”


  • Julieta Gil

    Pedestal para persona digna de ser recordada, 2021

    Cera de abeja, damar, pigmentos, acero inoxidable

    100 x 109 x 13 cm

    Julieta Gil

    Julieta Gil’s multidisciplinary practice creates narratives that reflect on the sociopolitical movements and sheds light on the imbalance of power that historically affects Mexico. Through a complex process of 3D scanning, Gil mapped out different portions of a prominent monument in Mexico City which was tagged by feminists after activist protests against the systemic violence that women endure in Mexico. Gil has documented these traces and marks—which the government has repeatedly tried to erase and censor—and exposes them through a translucent encaustic that honors the history of these movements. The artist questions, “How do we represent plurality, temporality, and multiplicity of stories across time through an object that otherwise represents only the timeless, monolithic, monumental, permanent, hegemonic, and patriarchal?” 


  • Alicia Ayanegui

    La luz proviene de ahí, 2021

    Oil on paper
    70 x 50 cm

    Alicia Ayanegui

    Analyzing the space she inhabits, Alicia Ayanegui paints vignettes of light and darkness within the household to reflect on the meaning of stillness and emptiness. Her work is the result of the extended observation and deep analysis of her living space, which she reconstructs into seemingly uncomplicated compositions. They act as testimony to the dialogues that unfold between Ayanegui and her surroundings. Her works tend to poetically depict and often abstract commonplace objects, such as chairs, pillows, and house plants, which inadvertently evidence the person who owns them and softly reveal their personal history. “These are my things and my experiences: what I feel when I’m there, immersed in a space.”


  • 'The future is female, the future is queer, and above all, it’s inclusive; this exhibition sets the tone for all...

    Dentro, 2021

    Óleo sobre papel

    70 x 50 cm

    "The future is female, the future is queer, and above all, it’s inclusive; this exhibition sets the tone for all of our programming ahead.” - Fátima González

  • Astrid Terrazas

    Cantando himnos en el jardín atrás de Walgreens, 2020
    Acrylic, synthetic hair
    200 x 150 cm

    Astrid Terrazas

    Astrid Terrazas collages body parts and cultural signifiers—in the shape of seashells and hair braids—in an effort to resuscitate her family history after having migrated from Mexico to the US at an early age. Her compositions, which merge geometric abstraction, figuration, and surrealism, suggest that there is no distinction between reality and fiction and introduce fantastic characters drawn from folklore and contemporary mythology. In a recent interview, the artist said, "My work merges unearthly transfigurations with lived experiences and ancestral folklore. I seek to write, or re-write worlds; my narratives push personal and communal trauma towards tangible healing. It’s a process of finding and burying."


  • Berenice Olmedo

    Berenice Olmedo makes sculptures using found medical equipment to underscore the experiences of marginalized groups, including disabled and incarcerated people. She comments on society’s archaic standards on beauty and health, emphasizing the disproportionate inequality experienced in poorer neighborhoods in Mexico City. Olmedo sources her materials from a flea market in Iztapalapa, a neighborhood where the local economy revolves around reselling “usable garbage” dug up from the mountains of trash in the neighborhood. Most often, she buys small and decorated orthotics (a corset that modifies the muscular and skeletal system of the body) that once belonged to children, and thus critiques society’s obsession with fitting “the norm.”

    MEKHANÉ, 2021.
    Milwaukee corset collar,HKAFO aluminum bars ( knee, ankle and foot orthoses) and metal sacro lumbar girdle rods.
    53 x 13 x 28 cm

  • Paloma Rosenzweig

    Similarly, Paloma Rosenzweig’s work deals with complicated themes like inadequacy, religion, death, medicine and the body. In her latest series, titled Soft Bodies, Rosenzweig fabricates hand-woven wool sculptures that represent the inner organs and bones of the human body—a heart, brain, teeth, or vertebrae. By weaving together her work, the artist mimics involuntary bodily functions—such as breathing, walking, and even the heartbeat—and slowly incorporates a rhythmic, performative, and almost-meditative process. As a whole, this body of work comments on the medical act of opening bodies to heal or to explore, critiquing the imposed intimacy that exists in these situations.


    • Fibras 2, 2021 Ink on paper 35.6 x 43.2 cm

      Fibras 2, 2021

      Ink on paper

      35.6 x 43.2 cm

    • Dos vértebras, 2021 Handmade felt 90 x 56 x 63 cm

      Dos vértebras, 2021 

      Handmade felt

      90 x 56 x 63 cm

  • Image credits:

    All digital files Ramiro Chaves @whitebalancemx.