Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

ONLINE CATALOGUE · JUNE 2020

Marisa Arce Zencich · José Eduardo Barajas

Ana Sofia Batlle · Andrew Birk · Marc Breslin

Andrés Felipe Castaño · Allan Villavicencio

Bobby Cruz · Merike Estna · Luis Hampshire

Francisco Muñoz · Charlotte Vander Borght

Hugo Llanes · Héctor Madera · Keke Vilabelda

Kanako Namura · Nicole Chaput · Beth Frey

Flora Rebollo · Francesc Ruiz · Ana Segovia

Martin Fengel · Diego Teo · Endy Hupperich

Paloma Rosenzweig

W O R K SON PAPER

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

WELCOME TO WORKS ON PAPER (This is not like any other online catalogue)

What’s these all about?

> Works on Paper comes from talking with our artists at the beginning of the confinement due to Covid-19.

> This way:

> All works are less than 2,000 usd

> You can be part of this chain of support helping the art community to grow strong during this crisis.

> We feel very proud of the artists’ proposals and we are sure you’re are going to find something you like.

> The works held by the artists (Estonia, USA, Canada, and so on), once the delivery system is reestablished and there is no risk, the work will be shipped to the owner.

We hope you enjoy it! Best

Galería Karen Huber

- We support our artists

- We support other artists

- We support the ones in need through YA RESPONDISTE A.C. as more than 20% of infections cases in Mexico are within health workers. Thus we support with the direct delivery of a protection kit according to their needs.

- Talking with them, we realized some artists couldn’t even go to their studios and they were working with the material they had around. So, that was the starting point, inviting the artist to create works during the confinement, which production implied no risk.

- Then we urged the artists of the gallery to invite another artist, based on an artistic or a!ec-tional interest, and to write a small quote telling why they invited them. Additionally, to extend support to the art guild, the Karen Huber team (Karen, Andrea and Aurélie) invited three artists.

- Last but not least, we decided to save part of the sales and donate it to YA RESPONDISTE A.C., a non-lucrative foundation that is bringing help to health workers in COVID Hospitals in Mexico.

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Corvallis, Oregon, USA, 1985) Lives in Espinavessa, Alt Empordà, Spain.

Andrew approaches painting as a multi-faceted contemporary medium, where materials are used in an indivisible relationship with the subject matter. Each of his consecutive bodies of work are conceived as specific projects, with their own distinctive logic about context, gesture, and matter. Ranging from the observation of the apparent inconsequential moments of quotidian life, to an exploration of untrained aesthetics, from an almost archival look at urban and digital imagery, to the perception of the body moving through space and the imprint of nature on it.

He has exhibited in 27 countries, including the recent solo and group shows: Ebullición, Kunnstraum am Schauplatz (Vienna, 2019); Unsupported Message Format, Galerie Valeria Cetraro (Paris, 2019); Dwelling Poetically: Mexico City, A Case Study, cu-rated by Chris Sharp, Australian Center for Contemporary Art (Melbourne, 2018) and Callejero, Anonymous Gallery (Mexico City, 2016). In 2020, he had his second solo exhibition Para Mi Hija at Galería Karen Huber in Mexico City. His work has been reviewed in publications such as Parnass, Proceso, Reforma, El Economista, Terremoto, Flash Art, Artspace, O Fluxo, Tzvetnik, Art Viewer, AQNB, Aujourd’Hui, Vice, I-D, and Hu!ngton Post, among others. Andrew co-directs Spirit Vessel, a newborn vehicle for contemporary art in Espinavessa, Spain.

(Corvallis, Oregon, EE. UU, 1985) Vive y trabaja en Espinavessa, Alt Empordà, España.

Andrew aborda la pintura como un medio contemporáneo multifacético, donde cada uno de sus cuerpos de obra se conciben como un proyecto específico, con su propia lógica sobre el contexto, el gesto y la materia. Oscilando entre la observación de los momentos aparentemente intrascendentes de la vida cotidiana o hasta la exploración de una estética inexperta; o desde una mirada casi archivística hacia las imágenes urbanas y digitales, hasta la percepción del cuerpo moviéndose a través del espacio y la huella de la naturaleza en él.

Ha expuesto en más de 27 países, incluyendo las recientes exposiciones individuales y colectivas: Ebullición, Kuns-traum am Schauplatz (Viena, 2019); Unsupported Message Format, Galerie Valeria Cetraro (París, 2019); Dwelling Poetically, Mexico City, A Case Study, curada por Chris Sharp en el Australian Center for Contemporary Art (Melbourne, 2018); Callejero, Anonymous Gallery (CDMX, 2016). En 2020 inauguró su segunda exposición individual Para Mi Hija en Galería Karen Huber (CDMX). Su trabajo ha sido mencionado en publicaciones como Parnass, Proceso, Reforma, Economista, Terremoto, Flash Art, Artspace, OFLUXO, Tzvetnik, Art Viewer, AQNB, Aujourd’Hui, Vice, I-D, and Hu!ngton Post, entre otras. Andrew codirige Spirit Vessel, un vehículo recién nacido para el arte contemporáneo en Espinavessa, España.

Andrew Birk

Untitled (Covid Variations)Watercolor and acrylic on bond paper

29,7 x 21 cm2020

900 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Andrew Birk

(Palamós, Catalonia, Spain, 1990) Lives and works in Calonge, Cataluña, Spain.

Graduated from Universidad de Barcelona and was a swap student with Hochschule für Grafk und Buchkunst Leipzig. He has exhibited his work individually, among others: Still Cuba, XIII Bienal de la Habana; Empathy Problem, Galería Javier Silva (Spain), Copy to Learn, Learn to Copy, The LODGE (USA) and in numerous collective shows in Spain and abroad. He is the au-thor of various publications and has given conferences such as Paper Exhibitions at MoMA Ps1. He has been awarded by public and private institutions such as Fundación Guasch Coranty and his work is part of various collections, among others: MACBA, SoHo House, Universidad de Barcelona o Birmingham Museum of Art.

His artistic practice combines a wide range of image production, with an emphasis on painting and drawing. Affected by his no-madism, collector habits and interest in the publishing process, his work plays with the representation codes from a curious, playful and critical perspective and takes the form of a personal diary, a continuous accumulative process that adapts to the territory where it stands. In the last eight years he has resided in different parts of the world where he has sometimes promoted projects related to the context; or that they subvert the sedentary logic of the traditional painter. From these transitory spaces have been generated site-specific processes that take the form of installation, video, publications and collaborations with external agents.

“Francesc Ruiz Abad and I live relatively nearby in the rich coastal farmland towards France in Catalunia. He is from this rural landscape, and I am from an American version of it. I think that while

the social contexts of our origins are quite di!erent, the very wide-open and verdant agricultural landscape creates an interesting common base, a shared aesthetic understanding anchored by

huge skies and mountain ranges that seems to be almost protolinguistic and absolutely prenational.”

(Palamós, Cataluña, España, 1990) Vive y trabaja en Calonge, Cataluña, España.

Es licenciado en Bellas Artes por la Universidad de Barcelona y estudiante de intercambio con Hochschule für Grafk und Buchkunst Leipzig. Ha expuesto su trabajo individualmente en varios lugares de cuales destacan: Still Cuba, XIII Bienal de la Habana; Empathy Problem, Galería Javier Silva (España), Copy to Learn, Learn to Copy, The LODGE (EE. UU.) y ha participado en múltiples exposiciones colectivas nacionales e internacionales. Es autor de distintas publicaciones y ha dado conferencias como Paper Exhibitions en el MoMA Ps1. Ha sido becado por instituciones públicas y privadas como la Fundación Guasch Co-ranty y su trabajo forma parte de colecciones como MACBA, SoHo House, Universidad de Barcelona o Birmingham Museum of Art.

Su práctica artística combina un amplio abanico de producción de imágenes, haciendo énfasis en la pintura y el dibujo. Afec-tado por su nomadismo, sus hábitos de coleccionista y su interés por el proceso editorial, su trabajo juega con los códigos de representación desde una mirada curiosa, lúdica y crítica y toma la forma de un diario personal, un proceso acumulativo continuo que se adapta al territorio donde esté. En los últimos ocho años ha residido en diferentes lugares del mundo donde a veces ha impulsado proyectos vinculados al contexto; o que subvierten la lógica sedentaria del pintor tradicional. De estos espacios transitorios se han generado procesos site-specific que toman forma de instalación, vídeo, publicaciones y colabo-raciones con agentes externos.

Francesc Ruiz

JA JE JI Ink on paper 76 x 55 cm

2020 450 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(New York, USA, 1983) Lives and works in, New York, USA.

Starting with color plans, his works question the basis of the mimetic representation of reality in art. In his paintings appear schematic figures that touch the abstraction and places that could well be a natural landscape or a product of his imagination. The images created by Breslin generate their own narratives, function as studies on communication, or even lack of communi-cation among themselves, and in a more general spectrum in relation to art history. Topics such as location and time, as well as loss and reconstruction are recurring in their work. Contemplate your practice as an opportunity to create “shared meetings in a historical and personal way”.

Among his most important solo exhibitions are: Sticksville, Galería Karen Huber (Mexico City, 2019); Cindy, Carmine, George, Pierre and Others at Galería Karen Huber (Mexico City, 2017); Piano Piano at Umberto Di Marino (Naples, 2012); Casual curses are the most effective at Scaramouche (New York, 2011). Collective exhibitions he has been part of are: Through Painting, with Ana Manso and Tiziano Martini at Fondazione Rivoli Due (Milan, 2015); Lace Happening, benefit for Los Angeles Contemporary Exhibitions (LACE) (Los Angeles, 2015); Gangsters and Geniuses, pop-up with SoCal Gangsters and Geniuses via Juxtapoz, Rare Form and Vagran Skateboards (San Diego, 2015). He participated in the Festival of Ideas for the New City at the Museum (New York 2011). His work was included in the exhibition Gerhard Richter and the Disappearance of the Image in Contemporary Art at the Center for Contemporary Culture Florence (CCC Strozzina) in the Palazzo Strozzi, (Florence, 2010) and site specific installations in the Fondazione RivoliDue (Milan) and the Galleria Umberto Di Marino (Naples). the Galleria Umberto Di Marino (Naples).

(Nueva York, EE.UU., 1983) Vive y trabaja en Nueva York, EE.UU.

A partir de planos de color sus obras cuestionan las bases de la representación mimética de la realidad en el arte. En sus pinturas aparecen figuras esquemáticas que rozan la abstracción y lugares que bien podrían ser un paisaje natural o un pro-ducto de su imaginación. Las imágenes creadas por Breslin generan sus propias narrativas, funcionan como estudios sobre la comunicación, o incluso la falta de comunicación entre ellas mismas, y en un espectro más general en relación con la historia del arte.

Entre sus exposiciones individuales más importantes destacan Sticksville en Galería Karen Huber ; Cindy, Carmine, George, Pierre and Others en Galería Karen Huber (CDMX, 2019 y 2017); Piano Piano en Umberto Di Marino (Nápoles, 2012) y Casual curses are the most e!ective en Scaramouche (Nueva York, 2011). Entre las exposiciones colectivas de las que ha formado parte se encuentran Through Painting, Fondazione Rivoli Due (Milan, 2015); Lace Happening, benéfica para Los Angeles Contemporary Exhibitions (Los Ángeles, 2015); Gangsters and Geniuses, pop-up con SoCal Gangsters and Geniuses via Juxtapoz Rare Form and Vagran Skateboards (San Diego, 2015). Participó en el Festival of Ideas for the New City del New Museum (Nueva York, 2011). Su trabajo se incluyó en la exhibición Gerhard Richter and the Disappearance of the Image in Contemporary Art, en el Centro de Cultura Contemporánea Strozzi-na en el Palazzo Strozzi (Florencia, 2010) e instalaciones específicas en la Fondazione RivoliDue (Milán) y la Galleria Umberto Di Marino (Nápoles).

Marc Breslin

Untitled Oil stick on ARCHES paper

76 x 56 cm 2020

1.500 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Marc Breslin

(Brussels, Belgium, 1988) Llives and works in Brooklyn, New York, USA.

Charlotte vander Borght received her MFA at Ecole National des Arts Visuel de la Cambre in 2013, and her BFA from the Wim-bledon Collage of Arts – University of the Arts in London, UK. Her work has been exhibited in solo an collective shows in Belgium, France, UK, USA and Mexico. Among others: Le figurant, Window (Brussels, 2019); Fried Patterns, curated by Tenzing Barshee, Gallery week-end (Brussels, 2019); Salle des pas perdus, curated by Michel François and Richard Venlet, DOC (Paris, 2018); Aguas, El Quinto Piso (Mexico City, 2018); C H A M B R E S with Carlotta Bailly-Borg, curated by Michel François, Island (Brus-sels, 2017).

The work of Charlotte vander Borght is a poetic engaged witness trying to catch, pause and reflect on our era of high-speed, constant mutation and planned obsolescence. Through sculpture, photography and drawing, and often from a vocabulary related to architecture, construction or popular culture, she is mainly dealing with very contemporary issues of flux, transfer, flexibility of bodies and commodities.

“For this collection of works on paper, I invited Charlotte because what I love so much about her sculptures has been distilled into a series of drawings. At the beginning of the pandemic, Charlotte

returned to her native Brussels and began making drawings of co!ee cups, the kind you find at diners, often stacked and taking over the image plane. Again, the co!ee mugs in the restaurant

are mundane, banal, but the co!ee mugs in the drawings place me at the counter, at my favorite deli on Broadway and Havenmeyer, Reben’s, waiting for my eggs and bacon and another refill of the heavily creamed and sugared liquid. The deli is hardly anything special. The co!ee isn’t

good at all. But I love that place. I love losing track of how many cups I’ve had. The people working there. The customers. The flow of it all. I miss it.”

(Bruselas, Bélgica, 1988) Vive y trabaja en Brooklyn, Nueva York, EE. UU.

Charlotte vander Borght cuenta con un MFA de la Ecole National des Arts Visuel de la Cambre (Bruselas, Bélgica) y un BFA de la Wimbledon Collage of Arts – University of the Arts (Londrés, Reino Unido). Ha expuesto de forma individual y colectiva en Bélgi-ca, Francia, Reino Unido, Estados Unidos y México. Entre sus exposiciones destacan: Le figurant, Window (Bruselas, 2019); Fried Patterns, curada por Tenzing Barshee, Gallery week-end (Bruselas, 2019) Salle des pas perdus, curada por Michel François y Richard Venlet, DOC (París, 2018); Aguas, El Quinto Piso (CDMX, 2018); C H A M B R E S with Carlotta Bailly-Borg, curated by Michel François, Island (Bruselas, 2017).

La obra de Charlotte vander Borght es un testigo poético comprometido, intentando alcanzar, pausar y reflejarse en nues-tra era de alta velocidad, mutación constante y obsolescencia programada. A través de escultura, fotografía y dibujo, y con frecuencia desde un vocabulario relacionado a la arquitectura, construcción o cultura popular, ella tarta principalmente con problemáticas contemporáneas de flujo, transferencia, flexibilidad de cuerpos y sus comodidades.

Charlotte vander Borght

On Hold #1 Black pencil on paper

35.5 x 43 cm2020

1.200 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Bogota, Colombia, 1986) Lives and works in Cordoba, Argentina.

Castaño takes on the idea of the image as the primary carrier of historical information. From there, he analyzes the way in which these images offer a distorted view of reality and to what extent that affects our way of seeing it, our mentality, and our comprehension’s limitations.

Master in Visual Arts from Universidad Nacional Autónoma de México (UNAM). Castaño has participated in group exhibitions as Verbo 2018, Vermelho Gallery (Sao Paulo, 2018); XVII Rufino Tamayo Painting Biennial (Mexico City, 2017); Imago Mundi, Giorgio Cini Foundation (Venice, 2016); 1st International Biennial of Contemporary Art (Cartagena, 2014); Melgart/Arte de paseo, Museo de Arte Moderno de Bogotá (MAMBO) (Bogota, 2013) and 14 Salon regional de artistas, Museo del Banco de la Republica (Bogota, 2012). He also has participated in artist residencies as TEOR/éTica in San Jose, Costa Rica (2014); Nordisk Kunstnarsenter Dalsåsen in Dale, Norway (2015); 32° East | Ugandan Artists Trust in Kampala, Uganda (2016); Kiosko Residency in Santa Cruz de la Sierra, Bolivia (2017) and Barda del desierto in Rio Negro, Argentina (2019).

(Bogotá, Colombia, 1986) Vive y trabaja en Córdoba, Argentina.

Castaño aborda la idea de la imagen como vehículo principal de la información histórica. A partir de ahí, analiza de qué manera esas imágenes proporcionan una idea distorsionada de la realidad, y en qué medida eso afecta nuestra manera de entenderla, así como los límites de nuestra comprensión de ese fenómeno.

Es maestro en artes visuales por la Universidad Nacional Autónoma de México (UNAM). Ha participado en diversas exposiciones tales como: Verbo 2018, Vermelho Gallery (Sao Paulo, 2018); XVII Bienal de Pintura Rufino Tamayo en el Museo Tamayo (CDMX, 2017); Imago Mundi en la Fundación Giorgio Cini (Venecia, 2016); I Bienal de Arte Contemporáneo de Cartagena (Cartagena, 2014); Melgart/Arte de paseo, Museo de Arte Moderno de Bogotá (MAMBO) (Bogotá, 2013) y 14 Salón Regional de Artistas, Museo del Banco de la Republica (Bogotá, 2012). Ha realizado residencias artísticas en San José de Costa Rica en TEOR/éTica (2014); Dale, Noruega en Nordic Artist’ Centre Dale (2015); Kampala, Uganda en 32° East Ugandan Arts Trust (2016); Santa Cruz de la Sierra, Bolivia en Kiosko (2017) y Barda del desierto in Rio Negro, Argentina (2019).

Andrés Felipe Castaño

Apolo Graphite on paper

45 x 35 cm2020

800 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Andres Felipe Castaño

(Buenos Aires, Argentina, 1979) Lives and works in Cordoba, Argentina.

She is a photographer graduated from the National Photography School in Buenos Aires. She holds a diploma on con-servation and documental photograph archive by the Philosophy Faculty from the Buenos Aires University and La Lumière School (Cordoba, Argentina). Her work has been exhibited in Argentina, República Dominicana and Colombia. She works both with analogic and digital techniques. Currently she is director and photographer of Estudio Me/We

Mal de ojo is part of her broader body of work called La Cura, translated as the cure, which delves into the popular be-lieves and tradicional medicine in Latin America. The intencion of this series is to portray the work and knowledge from native “curanderos”, or even from any grandmother, which has been passed from generation to generation.

“Her work plays with the same notion of objectivity as photography, placing us in a place where doubt is a

constant. The level of uncertainty and mystery that generate her images makes us see and rethink our visual

alphabet from another point, where what the eye has learned is changing. On the other hand, her aesthetics

reminds us of the old masters of painting such as Zurbarán or the Flemish school, the use of lights

and compositional tension give the sensation of weightlessness that, joined with her interest related to

the popular and esoteric, generate a void in who observes these recreated scenes.”

(Buenos Aires, Argentina, 1979) Vive y trabaja en Córdoba, Argentina.

Fotógrafa profesional egresada de la Escuela Nacional de Fotografía (ENFO) en Buenos Aires, Argentina. Diplomada en Investigación y Conservación Fotográfica Documental. Facultad de Filosofía y Letras de la Universidad de Buenos Aires y la escuela La Lumière (Córdoba. Argentina). Trabajó como fotógrafa comercial en República Dominicana y Colombia. Su trabajo ha sido mostrado en Argentina, Re-pública Dominicana y Colombia. Trabaja empleando técnicas analógicas y digitales. Actualmente es directora y fotógrafa de Estudio Me/We.

Mal de ojo forma parte del proyecto fotográfico La Cura, el cual indaga en las creencias y medicina popular en América Latina. La finalidad de la serie es plasmar estas costumbres populares realizadas por nuestras abuelas y curanderos, tradiciones que han ido pasando de generación en generación.

Marisa Arce Zencich

Mal de ojo

Direct shot digital photography

50 x 70 cm (unframed)

2020

800 usd

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Tallinn, Estonia, 1980) Lives and works in Tallinn, Estonia.

The central thesis of Merike Estna’s work is as direct as powerful: to envisage painting beyond its purpose as a medium for formal and creative expressions. Her longstanding research focuses on expanded painting and the exploration of its diverse artistic possibilities. Likewise, her work proposes an echo between the tradition of academic painting, art history and pictorial possibilities beyond the canvas.

She has graduated from the Eesti Kunstiakadeemia (Estonian Academy of Arts) with a Bachelor’s degree in painting in 2005 and from the Goldsmiths College, University of London, in 2009 with the Master’s degree in art practice. Her performative work has been exhibited at MACO 2020 (Mexico City); Baltic Triennial 13, Give Up The Ghost (Tallinn); Kiasma - Museum of Contemporary Art (Helsinki); Performa 17 and Art in General (New York); among others. Her solo exhibitions have been presented at Moderna Museet (Malmö); Kunstraum, (London); Kim? Contemporary Art Centre (Riga); Kumu Art Museum (Tallinn); Galería Karen Huber (Mexico City) and Bosse & Baum Gallery (London). She has been the recipient of Hansapank scholarship (Estonia, 2004); Eduard Viiralt award (Estonia, 2005); Kristjan Jaak scho-larship (Estonia, 2007) and Konrad Mäe prize, (Estonia, 2014). Currently she is the recipient of an artist salary, awarded by the Ministry of Culture, Estonia and Annual Award, by the Cultural Endowment of Estonia. She has been an associate professor at the Eesti Kunstiakadeemia (Estonian Academy of Arts, Faculty of Fine Art) since 2017. During spring 2020 she was part of the prestigious Casa Wabi art residency in Puerto Escondido (MX) and will be part of the upcoming new installation Let me dream once more, curated by Kristi Kongi at Narva Art Gallery (Estonia)

(Tallin, Estonia, 1980) Vive y trabaja en Tallin, Estonia.

La tesis central de la obra de Merike Estna es tan directa como poderosa: imaginar a la pintura más allá de su función como medio de expresión formal y creativa. Su larga investigación se centra en el campo expandido de la pintura y la exploración de sus diversas posibilidades artísticas. Asimismo, su trabajo propone un eco entre la tradición de la pintura académica, la historia del arte y las posibilidades pictóricas más allá del lienzo.

Se graduó de la Eesti Kunstiakadeemia (Academia de Artes de Estonia) con una licenciatura en pintura en 2005 y del Golds-miths College de Londres en 2009 con una maestría en práctica artística. Su trabajo de performance ha sido exhibido en MACO 2020 (CDMX); la Baltic Triennal 13, Give Up The Ghost (Tallin); Kiasma - Museum of Contemporary Art (Helsinki); Performa 17 y Art in General (Nueva York); entre otros. Tuvo exposiciones individuales en Moderna Museet (Malmö); Kunstraum (Londres); Kim? Contemporary Art Centre (Riga); Kumu Art Museum (Tallin); Galería Karen Huber (CDMX); Bosse & Baum Gallery (Londres). Ha recibido la beca Hansapank (Estonia, 2004), el premio Eduard Viiralt (Estonia, 2005), la beca Kristjan Jaak (Estonia, 2007) y el premio Konrad Mäe (Estonia, 2014). Actualmente recibe un salario de artista, otorgado por el Ministerio de Cultura de Esto-nia y Premio Anual, por el Fondo Cultural de Estonia. Merike Estna ha sido profesora asociada en la Eesti Kunstiakadeemia (Academia de Artes de Estonia) desde 2017. En la pri-mavera 2020 formó parte de la residencia de arte Casa Wabi en Puerto Escondido (MX) y próximamente será parte de la nueva instalacion Let me dream once more, curada por Kristi Kongi, en Narva Art Gallery (Estonia).

Merike Estna

I am an empty vessel

oil pastel and acrylic on digital print

145 x 105 cm

2020

2.000 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Merike Estna

(Mexico City, MX, 1990) Lives and works in Mexico City, Mexico.

He received a BFA in Visual Arts at the National Art School “ENPEG La esmeralda” in Mexico City. He had collective and solo show in Mexico as well as abroad, among others: Campamento para jóvenes Naturalistas, Museo de la Ciudad de Querétaro, (Querétaro, 2020); Ajuscos_Expo, Charim Galerie, (Vienna, 2020); Ebullición, Kunstraum Am Schauplatz (Vienna, 2019); House painting tips, Galería la Esperanza, (Mexico City, 2019); Hommies Paradise & Motorcraft, LADRÓN galería, (Mexico City, 2018).

Barajas’ practice consists on the investigation of the visuality through the experimentation with different techniques. His work combines his personal experiences, iconography of popular culture and elements from different pictorial traditions. Popular motifs intermingle with technical processes ranging from conventional drawing and painting to abstraction and experimen-tation with new materials. In this way, Barajas’ work is presented as a visual language that challenges the perception and memory of the viewer.

“I have only seen José Eduardo Barajas work for real once, visiting his studio while he was doing Lagos residency.

Entering his studio I felt strange strange recognition, I saw work that is very di!erent than mine, but carries many similar interests of relationship between digital and handmade craft.”

(Ciudad de México, MX, 1990) Vive y trabaja en Ciudad de México, México.

Se graduó de la licenciatura en la Escuela Nacional de Pintura Escultura y Grabado (ENPEG) “La Esmeralda”. Ha expuesta de forma individual y colectiva en México y en el extranjero, entre sus exposiciones más recientes destacan: Campamento para jóvenes Naturalistas, Museo de la Ciudad de Querétaro, (Querétaro, 2020); Ajuscos_Expo, Charim Galerie, (Viena, 2020); Ebu-llición, Kunstraum Am Schauplatz (Viena, 2019); House painting tips, Galería la Esperanza, (CDMX, 2019); Hommies Paradise & Motorcraft , LADRÓN galería, (CDMX,2018).

Su práctica consiste en una indagación de la visualidad a partir de la experimentación con distintas técnicas. En su obra se conjugan sus experiencias personales, iconografía de la cultura popular y elementos de distintas tradiciones pictóricas. Los motivos populares se entremezclan con procesos técnicos que van desde el dibujo y la pintura convencionales hasta la abs-tracción y experimentación con nuevos materiales. De este modo, la obra de Barajas se presenta como un lenguaje visual que reta a la percepción y la memoria del espectador.

José Eduardo Barajas

Perspectiva aérea (Blue)

Colored pencil and ballpoint pen on peyón

158 x 143 cm

2020

1.500 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Oaxaca de Juárez, Mexico, 1975) He lives and works in Oaxaca de Juárez, Mexico.

His artistic production, which includes drawings, collages, found objects and assemblies, is a visual investigation around the different ways of thinking about painting. The composition of his works, halfway between the abstract and the figurative, forces the viewer to decipher the work, to use the body, in its transit; to generate a body memory that detonates images.

Luis Hampshire studied the Bachelor of Arts at the Universidad del Claustro de Sor Juana (USCJ) in Mexico City. He’s co-founder of the nonprofit art space Editions Plan B and as a curator he has organized various collective and individual exhibitions in Mexico and abroad. Among his most recent exhibitions, El cordón umbilical retiniano, curated by Willy Kautz, ESPAC (Mexico City, 2018); Pintura Reactiva, curated by Carlos Palacios, Museo de Arte Carrillo Gil (Mexico City, 2018) and Color Mundo y Carne, Galería Karen Huber (Mexico City, 2017). Hampshire has been creditor to various awards and grants as: winner of the XVIII Rufino Tamayo Painting Biennial (2018); Sis-tema Nacional de Creadores (2012 and 2016) and Honorable mention by state at the VII Biennial of Monterrey-Femsa (2005). He has published articles on contemporary art in various local and national print medias, as well as catalogs and art books. He has taught and participated in symposiums and conferences in Mexico City, Oaxaca, Acapulco, Campeche and in New York. He is a professor of the specialty of Painting and the chair of Contemporary Art Escuela de Bellas Artes de la Universidad Benito Juárez de Oaxaca (UABJO) since 2009.

(Oaxaca de Juárez, México, 1975) Vive y trabaja en Oaxaca de Juárez, México.

Su producción artística, que incluye dibujos, collages, objetos encontrados y ensamblajes, es una investigación visual en torno a las diversas maneras de pensar la pintura. La composición de sus obras a medio camino entre lo abstracto y lo figurativo obliga al espectador a descifrar la obra, a utilizar el cuerpo, en su transitar; a generar una memoria corporal que detone imágenes. Luis Hampshire estudió Arte en la Universidad del Claustro de Sor Juana (USCJ), CDMX. Es co-fundador del espacio de arte no lucrativo Ediciones Plan B y como curador ha organizado diversas exhibiciones colectivas e individuales en México y el extranjero. Entre sus exposiciones más recientes destacan El cordón umbilical retiniano, curada por Willy Kautz en ESPAC (CDMX, 2018); Pintura Reactiva, curada por Carlos Palacios en el Museo de Arte Carrillo Gil (CDMX, 2018) y Color Mundo y Carne en Galería Karen Huber (CDMX, 2017). Ha sido acreedor a diversos estímulos y galardones como: Ganador de la XVIII Bienal de Pintura Rufino Tamayo (2018); Sistema Nacional de Creadores (2012 y 2016) y ha estado en la VII Bienal de Monterrey-Femsa (2005). Ha publicado en medios impresos locales y nacionales, así como en catálogos y ha participado en simposios y conferencias en la Ciudad de México, Oaxaca, Acapulco, Campeche y en Nueva York. Es profesor en la Escuela de Bellas Artes de la Universidad Benito Juárez de Oaxaca (UABJO) desde 2009 y fue director del Taller de Artes Plásticas Rufino Tamayo en Oaxaca así como director del MUPO (Museo de los Pintores de Oaxaca).

Luis Hampshire

Parangon metate 8 Oil, collage and paper cutout on magazine sheet

28 x 21 cm2020

700 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Luis Hampshire

(Mexico City, MX, 1978)

Graduated in Visual Arts from UNAM (Mexico City), He was a recipient of Jóvenes Creadores scholarship (2009-2010), a pro-duction fellowship granted by the Mexican Government. He is co-founder of Cooperativa Cráter Invertido AC since 2012 and of Vacaciones de trabajo AC since 2019. In the past years, he has been dedicated to the realization of drawing books. He published two with the support of Mexican Cultural Endowment Program (2015 & 2018). Among his exhibitions stand out: BASHTE festival de Artline (Osaka, 2019); Caminando en la oscuridad, Leopold Museum en (Vienna,2017); The Eighth Climate (What Does Art Do?), Bienal de Gwangju (Korea, 2016) and All the world’s futures, Venice Biennal (Italy, 2015).

Diego Teo’s multidisciplinary work includes, drawing, sculpture, performance multimedia and site-specific projects. He is parti-cularly interested in participatory projects where he involves different communities to approach social issues from a local pers-pective. Nevertheless, he draws attention to more global issues, such as cultural identity, inequality, immigration or historical memory.

“Diego Teo´s work has been of my interest since the first time I saw his solo show in Garage gallery back in the 2000’s. He spoke from a very personal language and it

completely resonated with my understanding of contemporary art. He doesn´t take forms for granted, nor mediums, languages or fashions.

He works on a rich vocabulary that investigates his context and proposes di!erent ways of seeing, reading, approaching the world; raising the idea that living in the

present it’s all about understanding where we are standing.”

(Ciudad de México, MX, 1978)

Cursó la licenciatura en Artes Visuales en la Universidad Nacional Autónoma de México. Fue becario del FONCA en la disciplina de grafica (2009-2010). Miembro fundador de la Cooperativa Cráter Invertido AC desde 2012 y de Vacaciones de trabajo AC

desde 2019. En los últimos años su trabajo se ha enfocado el la realización de libros de dibujo. Ha publicado dos libros con el apoyo de-Programa de Fomento a Proyectos y Co-inversiones Culturales en el 2015 y el 2018. Entre sus exposiciones destacan: UBASHTE festival de Artline (Osaka, 2019); Caminando en la oscuridad, Leopold Museum en (Viena, 2017); The Eighth Climate (What Does Art Do?), Bienal de Gwangju (Corea, 2016) y All the world’s futures, Bienal de Venecia (Italia, 2015).

La obra multidisciplinar de Diego Teo abarca dibujo, escultura, multimedia, performance y obras de sitio específico. Le intere-sa particularmente la creación de proyectos participativos en los que involucra a distintas comunidades para abordar temas sociales desde perspectivas locales, sin dejar de lado problemáticas globales como la identidad cultural, la desigualdad, la inmigración, o la memoria histórica.

Diego Teo

Primavera 120 x 120 cm

Crayon on paper 2020

2.000 usd CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Kaufbeuren, Germany, 1967) Lives and works in Morelos, Mexico.

His artistic approach starts from an artificial realism and an accidental abstraction, his works try to show the symbiosis that exists between a painting and the daily visual contexts that it faces when it is generated and existing. As a pictorial collage, images from magazine clippings, cartoons, postcards or 90’s calendars overlap in abstract or undefined spaces.

He studied at Akademie der Bildenden Künste München (the Academy of Plastic Arts in Munich). In 1992 he arrived in Mexico and since then he has been working and living between Germany and different parts of the Mexi-can Republic. In 2000 he received a scholarship from the DAAD (German Academic Exchange Service). In 2003 he was part of the collective exhibition Drops for the eyes at Museo de Arte Contemporáneo de Oaxaca (MACO) (Oa-xaca). Between 2002 and 2004 he was a visiting professor at the Escuela Nacional de Pintura, Escultura y Grabado (ENPEG) “La Esmeralda”. (Mexico City). In 2007, together with other German artists, he was part of the exhibition Vistazo at Museo de Arte Carrillo Gil (Mexico City). Since then he has participated in various international exhibitions in galleries and museums. Among his most recent exhibi-tions, stand out the solo show Un litro y dos en la esquina, Galería Karen Huber (Mexico City, 2018) and Pintura Reactiva cura-ted by Carlos Palacios, Museo de Arte Carrillo Gil (Mexico City, 2018).

(Kaufbeuren, Alemania, 1967) Vive y trabaja en Morelos, México.

Su enfoque artístico parte de un realismo artificial y una abstracción accidental, sus obras intentan mostrar la simbiosis que existe entre una pintura y los contextos visuales cotidianos a los que se enfrenta al momento de ser generada y existir. A modo de collage pictórico, imágenes provenientes de recortes de revistas, caricaturas, postales o calendarios noventeros se super-ponen en espacios abstractos o indefinidos.

Estudió en la Akademie der Bildenden Künste München (Academia de Artes Plásticas de Múnich). En 1992 llegó a México y desde entonces ha estado trabajando y viviendo entre Alemania y distintas partes de la República Mexicana. En el 2000 recibió una beca del DAAD (Servicio Alemán de Intercambio Académico). En 2003 formó parte de la exposición colectiva Gotas para los ojos en el Museo de Arte Contemporáneo de Oaxaca (MACO). Entre 2002 y 2004 fue profesor invitado en la ENPEG “La Esmeralda” (CDMX). En 2007 junto con otros artistas alemanes for-mó parte de la exposición Vistazo en el Museo de Arte Carrillo Gil (CDMX). Desde entonces ha participado en diversas exposiciones en galerías y museos internacionalmente. Entre sus exposiciones recientes destacan la individual Un litro y dos en la esquina en Galería Karen Huber (CDMX, 2018) y la colectiva Pintura Reac-tiva curada por Carlos Palacios en el Museo de Arte Carrillo Gil (CDMX, 2018).

Endy Hupperich

artistinresidencylovedbymushrooms Mixed media on paper

93 x 64 cm 2019

1.900 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Endy Hupperich

(Munich, Germany, 1964) Lives and works in Munich, Germany. He received the Bayerischer Kunstförderpreis für bildende Kunst (Bavarian State Prize for Fine Arts). His work is shown internationally, among others is the VASF Gallery (San Francisco); Villa Stuck (Munich); Museo de Arte Carrillo Gil (Mexico City) and the Goethe Institut (London). This year he is working with Mara Pollak on a public space project in Paris. Martin Fengel loves to work in different mediums, photography, drawings and videos. His subjects are various; his art is mainly about the beauty of failing. He teaches photography at the Libera Università di Bolzano (Free University of Bolzano) (Italy). Once a week you can find Martin Fengel in the restaurant car of the train that goes to Italy, where he is teaching photography . If you are into trainstations, there is one made by him in Munich, where Martin was born. He still lives there with his wife and two cats. Once a week Martin draws for Zeitmagazin, he photographs and writes for magazines, and loves to watch the games of Bayern Munich’s amateur team. The drawing is about surroundings, ¿what happens when what goes around comes around? You are welcome to see it as a state of mind.

“I invited Martin because I think he is a great artist, with a particular sense of humor that it’s not commonly felt in contemporary art. He has an eye for looking for the absurd in our environment. His photos give a sense of

unrealness, as part of a theatrical scenography or a movie. They leave us astonished as they don´t allow to be deciphered. There is no explanation,

but there is space for imagination. For me that’s the real good art.”

(Munich, Alemania, 1964) Vive y trabaja en Munich, Alemania.

Recibió el Bayerischer Kunstförderpreis für bildende Kunst (Premio Estatal de Bellas Artes de Baviera). Su trabajo se ha exhibido internacionalmente en distintas ocasiones, por ejemplo en la galería VASF (San Francisco); Villa Stuck (Munich); Museo de Arte Carrillo Gil (CDMX) y el Goethe Institut (Londres), entre otros. Este año se encuantra trabajando junto a Maria Pollak en un proyecto de espacio público en París. A Martin Fengel le gusta trabajar en diferentes medios como fotografía, dibujos y videos. Sus temas son variados. Su arte es principalmente sobre la belleza del fracaso. Es profesor de fotografía en la Libera Università di Bolzano (Universidad libre de Bolzano) (Italia).

Una vez por semana puedes encontrar a Martin Fengel en el vagón restaurante del tren que va Italia, donde enseña fotogra-fía. Si te gustan las estaciones de tren, hay una hecha por él en Munich, donde nació Martin. Todavía vive allí con su esposa y dos gatos. Una vez a la semana, Martin dibuja para la publicación Zeitmagazin, toma fotografías y escribe para revistas, y le encanta ver los juegos del equipo amateur del Bayern Munich. Su dibujo es sobre el entorno, ¿qué sucede cuando lo que va alrededor vuelve?. Eres bienvenido a verlo como un estado mental.

Martin Fengel

Surround 64 x 48 cm

C- Print 2020

440 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Bayamón, Puerto Rico, 1977) Lives and works in Mexico City, Mexico.

The work of Héctor Madera arises from personal experiences and the observation of everyday situations in which the day-to-day struggle is reflected. Embarrassing situations, unfortunate circumstances and insignificant achievements are the inspira-tion of his artistic practice. Through different media ranging from collage, neon sculptures and large-scale paintings, Madera evokes emotional states that range from sadness and frustration, to ecstasy and joy.

He has an MFA from Brooklyn College (2011). Among his most recent exhibitions, they stand out: YO NACÍ EN UN MARATÓN at Casa Equis (Mexico City, 2020); …estaba perdido, pero estar perdido nunca se sintió tan cabrón… at SGR Galería (Bogota, 2018) and …Y cuando uno vive en el paraíso, ya uno no quiere irse tan pronto… at Galería Karen Huber (Mexico City, 2018). His work has been exhibited at El Museo del Barrio, (New York); the Museo de Arte Contemporáneo de San Juan (San Juan); Museo La Ene (Buenos Aires); the Saatchi Gallery (London) and the Taipei Fine Art Museum (TFAM) (Taipei). He was a beneficiary of the Dave Brown Project Grant (2013); the Pu!n Ltd. Teaneck Foundation Scholarship (New Jersey, 2005) and the Lexus Scholarship for Artists (San Juan, 2005). In addition, he was selected for the Solo Objects section of ARCO (Madrid, 2013).

(Bayamón, Puerto Rico, 1977) Vive y trabaja en la Ciudad de México, México.

El trabajo de Héctor Madera surge de experiencias personales y de la observación de situaciones cotidianas en las que se ve reflejada la lucha del día a día. Situaciones embarazosas, circunstancias desafortunadas y logros insignificantes son la inspi-ración de su práctica artística. A través de distintos medios que van del collage, esculturas en neón y pinturas a gran escala, Madera evoca estados emocionales que van de la tristeza y frustración, al éxtasis y la alegría.

Cuenta con un MFA del Brooklyn College (2011). Entre sus exposiciones recientes destacan, YO NACÍ EN UN MARATÓN en Casa Equis (CDMX, 2020) …estaba perdido, pero estar perdido nunca se sintió tan cabrón… en SGR Galería (Bogotá, 2018); … Y cuando uno vive en el paraíso, ya uno no quiere irse tan pronto… en Galería Karen Huber (CDMX, 2018). Su obra ha sido expuesta en El Museo del Barrio (Nueva York); el Museo de Arte Contemporáneo de San Juan (San Juan); el Museo La Ene (Buenos Aires); la Saatchi Gallery (Londres) y el Taipei Fine Art Museum (TFAM) (Taipei). Fue beneficiario de la subvención Dave Brown Project (2013); la Beca Fundación Pu!n Ltd. (Nueva Jersey, 2005) y la Beca Lexus para Artistas, (San Juan, 2005). Además, fue seleccionado para la sección Solo Objects de ARCO (Madrid, 2013).

Héctor Madera

Untitled (SIEMPRE PICHEO)

2020

27,9 x 35, 6 cm

Acrylic on paper

600 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Héctor Madera

(San Juan, PR, 1984)

Lives and works in San Juan, PR.

He received a BFA in Visual Arts, with a mayor in Painting, from the Escuela de Artes Plásticas de San Juan, Puerto Rico.

He has participated in several collective shows, among others: 2da Gran Bienal Tropical (Piñones, PR, 2016); Material, National

Museum of Puerto Rican Arts & Culture (Chicago, 2016); 30 años del MAC en el barrio, Museo de Arte Contemporáneo (San-

turce, PR, 2015) and the solo show Summer Love at Galería Petrus (San Juan, PR). In 2016 he recieved the Lexus Grant which

allowed him to make the exhibition OFF-ON at the Arts Museum of Puerto Rico.

His work encompasses drawing, painting, neon light sculptures and installations inspired in the Caribbean context. The works

are a profound representation of the popular cultures and the heritage he is sorrounded by. Through simple actions, like obser-

ving and collecting images he ilustrates the dialogues or musical phrases that come from daily popular culture.

“I am interested in including Bobby Cruz because I think he produ-

ces an important work that needs more international visibility.

His urban landscapes and neon texts reflect a clearly Puerto Rican

folklore with a fresh and very particular style.

Besides, I am collaborating with him in a duo show called

MADERITA + BOBISITO which will open at km0.2 (PR) in August.“

(San Juan, PR, 1984)

Vive y trabaja en San Juan, PR.

Obtuvo un Bachillerato en Bellas Artes con especialidad en Pintura de la Escuela de Artes Plásticas (2008) en San Juan, Puerto Rico.

Entre sus exposiciones colectivas destacan: 2da Gran Bienal Tropical (Piñones, PR, 2016); Material, National Museum of Puerto

Rican Arts & Culture (Chicago, 2016); 30 años del MAC en el barrio, Museo de Arte Contemporáneo (Santurce, PR, 2015) y la

exposición individual Summer Love, en Galería Petrus (San Juan, PR). En 2016 recibió la Beca Lexus con la cual realizó la expo-

sición OFF-ON en el Museo de Arte de Puerto Rico.

Su trabajo abarca dibujo, pintura, esculturas en luces neones e instalaciones, todo inspirado en el contexto caribeño. Sus obras

son una representación profunda de su herencia, así como de las culturas populares que lo rodean. Conformadas por simples

acciones de observar, participar, recopilar imágenes y simplemente expandirse para ilustrar frases musicales y diálogos que

se expresan con frecuencia en la cultura popular diaria.

Bobby Cruz

Untitled

Acrylic on carboard

50.8 x 45.7 cm

2020

SOLD

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Osaka, Japan, 1967)

Lives and works in Osaka, Japan.

Kanako Namura’s work focuses on the investigation of the pictorial possibilities of materials such as paper or confetti. Her most

recent works explore confetti, as a representative element of the celebrations, but also as an element full of pictorial and chro-

matic possibilities.

She began her studies in graphic design at the Osaka University of Arts. In 1991 she completed a second degree in Fiber Arts at

the Kansas City Art Institute. Later, in 2012 she completed a master’s degree in arts at the San Francisco University.

Among her individual exhibitions stand out: Like Watching Ice Melt, Galería Karen Huber (Mexico City, 2017); Accumulation, Ga-

lería Karen Huber (Mexico City, 2015); Festive, Yebisu Art Labo Gallery (Nagoya, 2015) and Edging away, Yebisu Art Labo Gallery

(Nagoya, 2008).

She has collectively shown her works in exhibitions such as Straight from Mexico City, Ruiz-Healy Art (San Antonio, 2016); Extra-

polation of Language, Galería Karen Huber (Mexico City, 2014); New Acquisitions, Don Soker Contemporary Art (San Francisco,

2013) and Gallery Selections, Don Soker Contemporary Art (San Francisco, 2012).

(Osaka, Japón, 1967)

Vive y trabaja en Osaka, Japón.

El trabajo de Kanako Namura se centra en la investigación de las posibilidades pictóricas de materiales como el papel, el con-

feti o el hielo. Sus obras más recientes exploran el confeti, como elemento representativo de la festividad, pero también como

elemento lleno de posibilidades pictóricas y cromáticas.

Comenzó sus estudios en diseño gráfico en la Universidad de Artes de Osaka. En 1991 realizó una segunda licenciatura en

Fiber Arts en el Kansas City Art Institute. Después, en 2012, realizó una maestría en artes en la San Francisco University.

Entre sus exposiciones individuales destacan Like Watching Ice Melt, Galería Karen Huber (CDMX, 2017); Acumulación, Galería

Karen Huber (CDMX, 2015); Festive, Yebisu Art Labo Gallery (Nagoya, 2015); Edging away, Yebisu Art Labo Gallery (Nagoya, 2008).

Colectivamente ha mostrado sus obras en exposiciones como: Straight from Mexico City, Ruiz-Healy Art (San Antonio,

2016); Extrapolación del Lenguaje, Galería Karen Huber (CDMX, 2014); New Acquisitions, Don Soker Contemporary Art (San

Francisco, 2013); Gallery Selections, Don Soker Contemporary Art (San Francisco, 2012).

Kanako Namura

HOW TO PLAY IN THE PARK 0514BOv

Acrylic paint and watercolor on Tosa washi paper

45.5 x 36.5 cm

2020

800 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Kanako Namura

(Xalapa, Veracruz, MX, 1990) Works and lives in Reykjavík, Iceland.

Graduated from the Iceland Academy of the Arts with an MFA, and BFA from the Arts Department of the Xalapa Univeristy (Veracruz, Mexico). He has had solo and collective shows in Mexico, Island, The United States and England. Some of his exhibi-tions include: MONUMENTAL, Kubburinn Gallery, Iceland Academy of the Arts (Reykjavik, 2019); Do-easy but Do-nothing, FLÆÐI Gallery (Reykjavik, 2019); Pastelería Ideal, RÝMD project space (Reykjavik, 2019); Desierto, Bandini Centro Cultural (CDMX, 2017); Lost at shitty, The Nelson´s Head (Londres, 2014), among others.

Llanes’s practice explores the potential of political gestures to comment on fissures in society and the aesthetics that erupt from them, involving extended painting,performance, installation, site specific and participatory art. By swinging between contem-plation and participation he seeks to engage critical thinking within the experience of specific events. Llanes considers his body of work a playground to navigate society, public space and its context.

“I remember way back when I first met Hugo he expressed a strong interest in the Gutai art movement. I think his wide ranging practice (including painting, performance, installation, site specific, site-related and participatory art) is a kin to the vigor, boldness and versatility Gutai was known for. I even enjoy

interpreting his move to Reykjavík, Iceland to be one of his projects. Just as he is, his works are insightful, poetic and witty.”

(Xalapa, Veracruz, MX, 1990) Vive y trabaja en Reikiavik, Islandia.

Cuenta con un MA en Fine Arts por la Iceland Academy of the Arts y una licenciatura en Artes Visuales por la Facultad de Artes Plásticas de Xalapa. Ha expuesto de forma individual y colectiva en Islandia, México, Estaos Unidos e Inglaterra. Entre sus ex-posiciones destacan: MONUMENTAL, Kubburinn Gallery, Iceland Academy of the Arts (Reikiavik, 2019); Do-easy but Do-nothing, FLÆÐI Gallery (Reikivik, 2019); Pastelería Ideal, RÝMD project space (Reikiavik, 2019); Desierto, Bandini Centro Cultural (CDMX, 2017); Lost at shitty, The Nelson´s Head (Londres, 2014), entre otras.

La práctica de Llanes explora el potencial de los gestos políticos para hacer comentarios acerca de las problemáticas en la so-ciedad y la estética que puede surgir de estas, implicando la pintura expandida, el performance, la instalación, el arte de sitio específico y el arte participativo. Al oscilar entre la contemplación y la participación del espectador, su trabajo busca involucrar el pensamiento crítico dentro de la experiencia de eventos específicos.

Hugo Llanes

Purgatory II (Journey to God)

Mixed media

21 x 30.5 cm

2020

450 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Mexico City, Mexico, 1991) Lives and works in Mexico City, Mexico.

Segovia’s paintings show her interest in deconstructing portrayals of masculinity in popular culture. She aims to queer “macho” archetypes using found images in various archives as blue prints for her paintings. Ana Segovia produces situations rather than images and comments on the plasticity of gender identity and articulate a need for a new kind of masculinity: one freed from the violence those stereotypes perpetuate

Ana Segovia graduated with a BFA at the School of the Art Institute in Chicago where she specialized in painting and drawing. In the past two years she had four solo exhibitions in the USA and in Mexico: Toy Boy at Galería Karen Huber (Mexico City, 2019); It’s not what it looks like at FUEGO (Mexico City, 2018); Boys and Boots at LTD (Los Angeles, 2017) and A Boy Named Sue at Galería Karen Huber (Mexico City, 2017). Additionally, she has participated in several group shows such as Them at Galerie Perrotin (New York, 2019); Everyday Muse curated by John Edmonds at LTD (Los Angeles, 2018). Segovia’s works are included in various institutional collections such as the PAMM (Miami); and the platform Artsy included her among its “10 Artists Shaping the Future of Mexico City’s Art Scene”. She also was mentioned two times in the magazine Códi-go within the 10 new promises of the Mexican art scene. She will have a solo exhibition at Museo de Arte Carrillo Gil in Mexico City this year.

(Ciudad de México, México, 1991) Vive y trabaja en la Ciudad de México, México.

Segovia hace una reflexión sobre la masculinidad y las convenciones socioculturales que surgen alrededor. Mediante de la apropiación de imágenes de diversos archivos, muestra su interés por el aspecto performático de dichos arquetipos. Su pintu-ra presenta situaciones, más que imágenes y es un comentario sobre la plasticidad de la identidad de género y la necesidad de articular una nueva forma de masculinidad, liberada de la violencia que se perpetua a través de los estereotipos. Ana Segovia se graduó con un BFA en la School of the Art Institute of Chicago (SAIC). En los últimos dos años tuvo cuatro exposiciones individuales en los Estados Unidos y en México: Toy Boy, Galería Karen Hu-ber (CDMX, 2019); It’s not what it looks like, FUEGO (CDMX, 2018); Boys and Boots, LTD (Los Ángeles, 2017) y A Boy Named Sue, Galería Karen Huber (CDMX, 2017). Además, ha participado en varias exposiciones colectivas de cuales destacan:Them, Galerie Perrotin (Nueva York, 2019); Everyday Muse comisariada por John Edmonds, LTD (Los Ángeles, 2018).

Las obras de Segovia están incluidas en colecciones institucionales como la del PAMM (Miami). La plataforma Artsy la incluyó entre sus 10 artistas que dan forma al futuro de la escena artística en México. De igual manera la revista Código, la mencionó en dos ocasiones dentro de las 10 nuevas promesas de la escena artística mexicana. Próximamente, Ana Segovia tendrá una exposición individual en el Museo de Arte Carrillo Gil (CDMX).

Ana Segovia

Sean 1Acrylic and pastel on paper

75 cm x 52.5 cm 2020

2.000 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Ana Segovia

(Calgary, Canada, 1980) Lives and works between Mexico City, Mexico, and Montreal, Canada.

Frey has an MFA in Painting and Drawing from Concordia University in Montreal and a BFA from the University of Victoria. She has exhibited her work in a number of solo and group shows across Canada, in Mexico and the US. Amog the most recent stand out: Agony Aunt at Casa Equis (Mexico City, 2019); Boom Boom Bloom Doom at Galería POPOP (Montréal, 2019); Relamida at Clavel Clavel (Mexico City, 2019) y Noctámbulas at Mashimon (Mexico City, 2019), among others.

Beth Frey is a Canadian artist who works with a variety of media, including drawing, painting, video, and sculpture. Through her wry, absurdist sense of humor, Frey playfully draws out contradictions in her subject matter, be it gender, the body, social media, mental health, or spirituality, often integrating representations of herself into the chromatic cartoon-like world she has created.

“I choose Beth to participate because of her extraordinary ability to tackle profound and often dark subject matters with a wonderful sense of humor and skill. The work is digestible at the same time as it holds gravitas. Her figures often seem anxiety riddled with the burden of living in this world, the fragility of the human body and a sense of doom stemming anywhere from the uncertainties about the future of the planet, to the sensory overload of social media. Her joyous use of color and a complex sense of composition make for whimsical, sometimes nightmarish, yet compelling images. Even as the anxiety starts to creep up on you, they are a joy to look at, which is what makes the work so powerful and ever so poignant for our present moment.”

(Calgary, Canadá, 1980) Vive y trabaja entre la Ciudad de México, México, y Montreal., Canadá.

Es licenciada en Bellas Artes por la Universidad de Victoria, y cuenta con una maestría en pintura y dibujo de la Universidad de la Concordia (Montreal, Canadá). Ha exhibido su trabajo en varias exposiciones individuales y colectivas en Canadá, México y los Estados Unidos. Entre las más recientes destacan: Agony Aunt en Casa Equis (CDMX, 2019); Boom Boom Bloom Doom, Galería POPOP (Montréal, 2019); Relamida, Clavel Clavel (CDMX, 2019) y Noctámbulas, Mashimon (CDMX, 2019), entre otras.

Beth Frey es una artista canadiense que trabaja en una variedad de medios: dibujo, pintura, video y escultura. A través del sentido del humor, absurdo y autodestructivo, Frey expone juguetonamente las contradicciones de sus temas, ya sea de gé-nero, el cuerpo, las redes sociales, la salud mental o la espiritualidad. A menudo integra representaciones de sí misma en un mundo de caricatura.

Beth Frey

Let it burn!

Watercolor on paper

56 x 76 cm

2020

1.400 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Valencia, Spain, 1986) Lives and works in Valencia, Spain.

His experience in different specific urban spaces allows his work to explore how the landscape is built over time, developing different bodies of work in parallel through the hybridization of painting, new technologies and the use of industrial materials such as cement. His work invites us to understand the painting from its materiality to its capacity of registration and memory.

Keke Vilabelda graduated with a BBAA at the Universidad Politécnica de Valencia and has an MFA from the Central Saint Mar-tins College of Art & Design in London. Among his individual exhibitions stand out: Common Ground, Grau Projekt (Melbourne, 2019); Materia Transitoria, Galería Karen Huber (Mexico City, 2018); and Estratos y Sedimentos, Kir Royal Gallery (Madrid, 2017). Collectively, he has participated in more than thirty exhibitions, including Shede Art Center Opening, Shichuan, (Chongqing, 2018); BluePrints, Artelli Gallery (An-twerp, 2018) and Salón Acme (Bodega) (Mexico City, 2018). Keke Vilabelda was awarded many prizes and scholarships among which: First place, Maniel Foundation in Valencia (SP, 2016); Scholarship for the Creation of Visual Arts, INJUVE program of the Government of Spain (2015) and was selected in the Guasch Coranty Foundation International Painting Award. In 2017 he made an artistic residence with CASA WABI in Puerto Escondido (MX) and he is currently a fellow of the prestigious residence Casa de Velázquez in Madrid (SP).

(Valencia, España, 1986) Vive y trabaja en Valencia, España.

Su experiencia en diferentes espacios urbanos específicos permite que su obra explore como se construye el paisaje a lo largo del tiempo, desarrollando paralelamente diferentes cuerpos de trabajo a través de la hibridación de la pintura, nuevas tec-nologías y el uso de materiales industriales como el cemento. Su obra nos invita a entender la pintura desde su materialidad hasta su capacidad de registro y memoria.

Estudió la licenciatura en BBAA en la Universidad Politécnica de Valencia y cuenta con un MFA del Central Saint Martins Co-llege of Art & Design de Londres. Entre sus exposiciones individuales destacan Common Ground en Grau Projekt (Melbourne, 2019); Materia Transitoria en Ga-lería Karen Huber (CDMX, 2018) y Estratos y Sedimentos en Kir Royal Gallery (Madrid, 2017). Colectivamente ha participado en más de treinta exposiciones como Shede Art Center Opening en Shichuan (Chongqing, 2018); BluePrints en Artelli Gallery (An-twerp, 2018); Salón Acme (Bodega) (CDMX, 2018). Ha recibido diversos premios y becas entre los que destacan: Primer lugar, Fundación Maniel en Valencia (ESP, 2016); Beca para la Creación de Artes Visuales, programa INJUVE del Gobierno de España (2015); y fue seleccionado en el Premio Interna-cional de Pintura de la Fundación Guasch Coranty. En el 2017 realizo una residencia con Casa Wabi en Puerto Escondido (MX) y actualmente es becario de la residencia en Casa de Velázquez en Madrid.

Keke Vilabelda

COMMON GROUND (P03) Acrylic and enamel on rock paper

102 x 72 cm 2020

1.300 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Keke Vilabelda

(Tlaxcala, Mexico, 1986) Lives and works in Mexico City, Mexico.

He studied Visual Arts in “ENPEG La Esmeralda” (Mexico City, 2006 – 2009) and in École Nationale Supérieure des Beaux-Arts ENS-BA (Lyon, France, 2009 – 2010). His works was exhibited in solo shows such as La casa de la tierra, Salón ACME No. 8 (Mexico City, 2020) o Écorché, Le Consulat (Paris, 2018). He participed in various collective shows, among others: XVIII y XVI Bienal de pintura Rufino Tamayo, Museo Tamayo (CDMX, 2019 y 2015); In the depth of identity, Studio la Città (Verona, 2017); Capital Flight, Chalton Gallery (Londres, 2016). He was a recipient of Jóvenes Creadores scholarship (2018-2019), a production fellowship granted by the Mexican Government, and of the Casa Wabi residency (Oaxaca, MX, 2017). In 2012 and 2011 respectively, he was awarded the Artista Residente of the Fundación Jumelage Martel (France), and from the Fundación Gruber Jez (Yucatán, MX). For the last years, he has developed a series of pieces mainly influenced by aesthetic and symbolic aspects of the pre-Colum-bian cosmogony. Particularly aspects that drew a singular vision of the world: the conception & the representation of the body or the development of objects for ritual and daily use; aspects that have experienced centuries and are currently integrated into the construction of national identity.

“I am interested in his capacity of transforming this light and bidimensionalmaterial to a sculptural object that’s tactile and heavy. Through the use of diverse

patterns and games between form and content, Muñoz modifies our perception of the motif and weaves the di!erent stories that shape it all. This way, the image is

constructed and deconstructed until creating a new representation that we are not able to distinguish either it’s part of the past or the future.”

(Tlaxcala, México, 1986) Vive y trabaja en la Ciudad de México, México. Realizó estudios en Artes Plásticas y Visuales en la Escuela “La Esmeralda” (CDMX, 2006 - 2009) y en École Nationale Supérieu-re des Beaux-Arts ENSBA (Lyon, Francia, 2009 – 2010). Ha realizado exposiciones individuales entre las que destacan: La casa de la tierra, Salón ACME No. 8 (CDMX, 2020) o Écorché, Le Consulat (París, 2018). Ha participado en exposiciones colectivas como: XVIII y XVI Bienal de pintura Rufino Tamayo, Museo Tamayo (CDMX, 2019 y 2015); In the depth of identity, Studio la Città (Verona, 2017); Capital Flight, Chalton Gallery (Londres, 2016). Fue beneficiario del FONCA Jóvenes Creadores (2018) y obtuvo la residencia de Fundación Casa Wabi (Oaxaca, MX, 2017). En 2012 y 2011 respectivamente, obtuvo la beca de Artista Residente en la Fundación Jumelage Martel (Francia), y en la Fundación Gruber Jez (Yucatán, MX).

Durante los últimos años, ha desarrollado una serie de piezas fuertemente influenciadas por aspectos estéticos y simbólicos presentes en la cosmogonía del mundo precolombino. Particularmente aspectos que dibujaron una visión singular del mundo: la concepción de la belleza, la representación del cuerpo y el desarrollo de objetos de uso ritual y cotidiano, aspectos que han perdurado y que actualmente se integran a la construcción de la identidad nacional.

Francisco Muñoz

Personaje antropomorfo No. 2

Graphite, color pencil on cotton paper

77 x 57 cm

2020

900 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

(Mexico City, Mexico, 1987) Lives and works in Mexico City, Mexico.

Allan Villavicencio explores the virtuality that is generated through the interaction and breaking of borders between: the aes-thetic representation, the formal relation of the pictorial object and the production of space. Thus, through a symbolic narrative of the perception of space, an extravagant phantasmagoria is configured by means of color and light.

His work has received international attention, with numerous solo or collective shows such as: La recherche du ryon vert, Maëlle Galerie (Paris, 2019); XVIII Rufino Tamayo Painting Biennial, Museo Tamayo (Mexico City, 2018); México: Pintura reactiva, Museo de Arte Carrillo Gil (Mexico City, 2018) and Capital flight, Chalton Gallery (London, 2016). He has been awarded with several prizes among which FONCA scholarship Jóvenes Creadores stands out in three issues: 2010, 2013 and 2017, and also the Honorable Mention for XVIII Rufino Tamayo Painting Biennial (2018). His work is part of numerous private collections such as Museo MATE (Lima, PE); Colección Arena (Madrid, SP) or JM SR Collection (Querétaro, MX). He recently inaugurated Transcapes, a large-scale fresco mural inside a XVII century building in Mexico City. Allan Villavicencio is co-director of “Fuego”, a Mexico City based space dedicated to the promotion and exhibition of contem-porary paintings practices.

(Ciudad de México, México, 1987) Vive y trabaja en la Ciudad de México, México.

Allan Villavicencio explora la virtualidad que se genera a través de la interacción y la ruptura de fronteras entre: la represen-tación estética, la relación formal del objeto pictórico y la producción del espacio. Así, a través de una narrativa simbólica de la percepción del espacio, se configura una fantasmagoría extravagante mediante el color y la luz.

Su trabajo ha recibido atención internacional, con numerosas exposiciones individuales y colectivas como: La recherche du rayon vert, Maëlle Galerie (París, 2019); XVIII Bienal Rufino Tamayo, Museo Tamayo (CDMX, 2019); México: Pintura reactiva, Museo de Arte Carrillo Gil (CDMX, 2018); Capital flight, Chalton Gallery (Londres, 2016). Ha sido galardonado con varios premios, entre ellos destacan la beca FONCA Jóvenes Creadores en tres ocasiones: 2010, 2013 y 2017 y la Mención de Honor de la XVII Bienal de Pintura Rufino Tamayo (2018). Su trabajo es parte de colecciones privadas como Museo MATE (Lima, PE), Colección Arena (Madrid, ESP) o JM SR Collection (Querétaro, MX). Recientemente inauguró Transcapes, un mural al fresco dentro de un edificio del siglo XVII en la Ciudad de México. Allan Villavicencio codirige Fuego, un espacio con sede en la Ciudad de México dedicado a la promoción y exhibición de prác-ticas de pintura contemporánea.

Allan Villavicencio

paisaje-frutero2020

Oil stick on paper70 x 50 cm1.500 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Allan Villavicencio

(Mexico City, Mexico, 1995) Lives and works in Mexico City, Mexico.

She received a BFA in Visual Art at the Art Institute of Chicago (2018), and was part of the Skowhegan School of Painting and Sculpture’s program, Maine, USA, (2019). She was included in several exhibitions in Mexico, USA and UK. Her recent shows include: a duo show with Israel Urmeer, Busca Vísteme ¡Mala Combinación!, Fuego (Mexico City, 2020); her first solo show Ojo histérico, curated by Ana Segovia in Casa Equis (Mexico City, 2019); Creación en Movimiento, Antiguo Colegio de San Ildefonso, (Mexico City, 2019) and a collective show in Material Art Fair (Mexico City, 2020). She was a recipient of Jóvenes Creadores scholarship (2018-2019), a production fellowship granted by the Mexican Government.

Her practice is based on oil painting and soft sculpture. Always taking the painting not only as a pictorial body, but as an or-ganism with systems that allow it to produce, consume, caress, devour and chew the eye that undresses it. This way, she and her objects generate a parallel creature that let the body become a laboratory that violates its own representation in order to reconfigure itself.

“I like her greenish roses and “violetish” grays.

For being a painter of impertinent faces.

And also: “the three of us are bitches, so we don’t have to be bitches with each other”.

Thanks and sorry.”

(Ciudad de México, México, 1995) Vive y trabaja en la Ciudad de México, México.

Estudió la licenciatura en las Bellas Artes en el Art Institute of Chicago (2018) y participó en la Skowhegan School of Painting and Sculpture, Maine, EE.UU. (2019). Ha formado parte de exposiciones en México, Estados Unidos y el Reino Unido. Sus exposiciones más recientes incluyen: una muestra a dúo con Israel Urmeer, Busca Vísteme ¡Mala Combinación!, Fuego (CDMX, 2020); su primera exposición individual Ojo histérico, curada por Ana Segovia en Casa Equis (CDMX, 2019); Creación en Movimiento, Antiguo Colegio de San Ildefonso, (CDMX, 2019) y una muestra colectiva en Material Art Fair (CDMX, 2020). Fue becaria del programa Jóvenes Creadores del FONCA (2018-2019).

Su práctica está basada en la pintura al óleo y escultura blanda, siempre retomando la pintura como no solo un cuerpo pic-tórico, sino también como un organismo con sistemas que le permiten producir, consumir, acariciar, devorar y masticar al ojo que la desviste. Es así que ella y sus objetos engendran una criatura paralela que permite hacer del cuerpo un laboratorio que violenta su propia representación para poder reconfigurarse.

Nicole Chaput

All Fours Oil, graphite and pastel on polypropylene paper

36 x 27 cm2020

600 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Karen Huber

(República Dominicana, 1996) Lives and works in Santo Domingo, Dominican Republic

She graduated with a BFA from The School of the Art Institute of Chicago. Afterwards she continued her studies in the painting academy DeCinti Villalón in Madrid, and in the art and design school Altos de Chavon in Dominican Republic. In 2016 she participated in the Art Bash exhibition for SAIC, and in 2017 she was short listed for the fellowship Luminarts. She was part of the 28th Bienal for Visual Arts in Dominican Republic, were three pieces of her were selected. In 2018 she had her first solo show in Casa de Teatro (Santo Domingo, DR) and in 2019 she was part of the international resi-dency program Athena Standard (Athens, Greece). She has also participated in several collective shows.

In her work, the use of patterns predominate trying to erase the line between the human figure and the landscape. With this playful, intuitive and repetitive style, she questions the notions of beauty and its perception through the body. In her most recent body of work she ponders specifically on the latin american and dominican female body.

“I got interested in Ana Sofia’s work when I bumped into an article naming her as

‘one of the fifteen female Dominican artists you have to know’, her process seems

very intuitive and repetitive and the result of it makes a kind of surrealist ensemble

of shapeless bodies and landscapes that takes me to a tropical environment,

a place I’d like to see and travel to. Her work is extremely clever and you can see

clearly her gracious hand and manufacture in her paintings and drawings,

seems to me of a unique maturity. To be such a young artist she has a great career,

she’s one of those artists I’d like to keep my eye on.”

(República Dominicana, 1996) Vive y trabaja en Santo Domingo, República Dominicana.

Graduada en 2018 con un BFA de La Escuela del Instituto de Arte de Chicago. Al terminar su licenciatura continuó sus estudios en la academia de pintura DeCinti Villalón, en Madrid, y en la escuela de arte y diseño Altos de Chavon (República Dominicana).En el 2016 fue seleccionada por la Facultad del Art Institute of Chicago para la exposición Art Bash, y en 2017 fue una de las fi-nalistas para el “Fellowship de artes visuales de Luminarts”. También participó en la XXVIII Bienal de Artes Visuales de República Dominicana, donde fueron seleccionadas tres de sus obras. En el 2018 tuvo su primera exposición individual en Casa de Teatro (Santo Domingo, República Dominicana) y en el 2019 par-ticipó en la residencia de arte internacional Athena Standards (Atenas, Grecia). Durante su carrera también ha formado parte de múltiples exposiciones colectivas.

En su trabajo predominan el uso de patrones, con los que busca cerrar la brecha entre la figura humana y el paisaje. Con un estilo lúdico, intuitivo y repetitivo busca cuestionar el concepto de la belleza y la percepción de la misma, a través de los cuerpos. En sus obras más recientes reflexiona específicamente sobre los cuerpos de mujeres dominicanas y latinoamericana.

Ana Sofia Batlle

No Way Out Mix media on paper

x cm 2020

1.500 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Andrea Bustillos Duhart

(Mexico City, Mexico, 1992) Lives and works in New York, USA.

She obtained her Bachelors degree in Fine Arts at “ENPEG La Esmeralda” in 2015 and her MFA in Fine Arts from Parsons School of Design in 2020. She has participated in group shows in Mexico and in the US like Phantom Ground, at 25 East Gallwery (New York, 2018); Nos ponemos de acuerdo después at Casa de la Acequia (CDMX, 2013); among others. Her most recent project is a narrative and sculpture based fictional institute called The Relics of the Inadequate.

Most of Paloma’s work is sculpture based and drawing, and it deals with themes like inadequacy, religion and death.

“Paloma Roseinzweig recently received her MFA from Parssons University. The Relics of Inadequate can be considered to be her first mature body of work.

I find the way in which she portrays an intimate yet conflictive relationship with the body to be striking. In this way, her project becomes a search for purpose. Su!ering,

like the saints’ tormented bodies, must signify something more. Through her sculptures and drawings, she represents a profound, yet humorous and whimsical, struggle to

cope with the physical and spiritual body.”

(Ciudad de México, México, 1992) Vive y trabaja en Nueva York, EE. UU.

Obtuvo su licenciatura en Artes Visuales en 2015 en “ENPEG La Esmeralda” y su maestría en Parsons School of Design en 2020. Ha participado en exposiciones grupales en México y en Estados Unidos como Phantom Ground, en 25 East Gallery (Nueva York, 2018); Nos ponemos de acuerdo, Casa de la Acequia (CDMX, 2013), entre otras. Su proyecto más reciente: Las Reliquias de lo Inadecuado es un instituto ficticio que utiliza escultura y dibujo para transmitir una narrativa.

Su trabajo abarca principalmente los medios de escultura y dibujo y trata temas como la muerte, lo inadecuado, la religión, la medicina y el cuerpo.

Paloma Rosenzweig

Carnes Color pencils on paper

36 x 43 cm 2020 SOLD

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

Invited by Aurélie Vandewynckele

(Brazil, 1983) Lives and works in São Paulo, Brazil.

Recently she participated in various international shows such as Rocambole, Kunsthalle Lissabon, (Lisbon); the Art Dubai Resi-dency Project (Dubai); Las flores azules que están hablando..., IK Projects (Lima) and the group show Comigo ninguém pode at Jaqueline Martins Gallery (São Paulo). In 2017 she held a solo show at Galeria Pilar in São Paulo. She participated in the prestigious residency Pivô Research Program in São Paulo and won the Grand Prize of the XI Bienal do Recôncavo. In 2018 her work became part of the Pinacoteca do Estado de São Paulo collection.

In her drawing, Rebollo’s most recurrent creative practice, the artist employs a number of graphic features that result in lar-ge-scale compositions that are intriguing by their profuse use of electric and muddy colors, in elusive shapes that rebuild themselves incessantly.

Flora Rebollo’s practice pushes the borders of our cultural and daily habits through the repetition of pictorial and sinuous elements,

irreverent combinations of colour and texture, and dark humor. Mostly works on paper, her pieces recall me di!erent organic scales or

worlds … and are the provocation we need during this quarantine to remind us to playfully observe our surround, either tangible or digital.

(Brasil, 1983) Vive y trabaja en São Paulo, Brasil.

Recientemente participó en varias exposiciones internacionales, entre las que destacan: Rocambole, Kunsthalle Lissabon (Lis-boa); la Art Dubai Residency Project (Dubai); Las flores azules que están hablando..., IK Projects (Lima) y la colectiva Comigo ninguém pode en Galeria Jaqueline Martins (São Paulo). En 2017 tuvo una exposición individual en la Galeria Pilar (São Paulo), formó parte de la prestigiosa residencia artística Pivô Research Program (São Paulo) y ganó el Premio Mayor en la XI Bienal do Recôncavo. En 2018 su trabajo se volvió parte de la colección de la Pinacoteca do Estado de São Paulo.

En sus dibujos, la técnica más recurrente en la obra de Rebollo, emplea una cantidad de recursos gráficos que resultan en intrigantes composiciones de formas elusivas gran escala, que se reconstruyen a si mismas incesantemente por el profundo uso de colores electricos y lodosos.

Flora Rebollo

Los colores ciegan mis ojos

2020

Oil stick on paper

21 x 29.5 cm

500 usd

CV

Bucareli #120, 2nd floor

Col. Juárez, CP 06600

Mexico City, Mexico

www.karen-huber.com

We thank the artists

for being part of this project.

And you, dear reader, for taking the time

to check out this fantastic and

diverse selection of works.

We hope to see all of you soon!

Meanwhile you can visit:Karen-huber.com

And our IGTV @khgaleria to discover the Close Up video series

Or listen: the artists playlists

Contact & Inquiriesinfo@karen-huber.com

cover / back:

José Eduardo BarajasPerspectiva aérea (Blue)

2020