The Museo Tamayo recently announced its reopening after a major renovation and expansion of its building and facilities. The expansion project, designed by Teodoro Gonzalez de Leon, one of the architects of the original building, designed over 30 years ago, is the product of a public-private initiative among non-profit and government institutions. To mark its reopening on August 26, the Tamayo Museum presented seven original exhibitions and projects organized by its curatorial team and guest curators—ranging from a significant historical exhibition of work by the museum’s founder, Rufino Tamayo, to a site-dependant commission by Pierre Huyghe.
Several of the exhibitions presented feature works from the museum’s permanent collection, providing contemporary perspectives that offer new readings of the works from the museum’s holdings:
Pierre Huyghe: El día del ojo is a site-specific intervention into the museum’s “sculpture patio.” The project is part of a larger body of work and research undertaken by the artist related to his experiences in Mexico. Huyghe brings together his diverse interests in nature, culture, and rituals and intersects them with history, fantasy, and oblivion, in order to weave a narrative that takes him back to his first visit to Mexico in 1987, and his subsequent expedition to Naica.
The project consists of three interconnected elements: an architectural intervention in the form of a fish pond; an exhibition of sculpture from the museum’s collection reflecting the artist’s reminiscence of his first visit to the Museo Tamayo in the 1980s; and a publication that suggests a visual narrative of Huyghe’s process towards the completion of the project.
Project curated by Sofía Hernández Chong-Cuy, guest curator.
Ryan Gander, Boing, boing, squirt looks into para-possible exhibition making, revealing the artist’s associative methodologies through presenting a series of objects that produce situations with the objective of displaying how new meanings can be drawn from coincidental and sometimes spastic cultural collisions. As visible from the titles of the works, the project looks at exhibition making as an exercise for the artist; almost assisting and explaining to the visitor the ambition and intent in the construction of each work and the narratives that they may produce. The exhibition in constructed around the artwork The Corridor (1976) by George Segal, from the museum’s collection, which is to be shown within the installation.
Michael Stevenson, New Math is the result of the artist’s research that intertwines obscure relations between history, economy, politics and mathematics in order to create fictions. Stevenson’s project for the Museo Tamayo intersects the improbable connection between Mohammad Rezā Pahlavī, Iran’s last Shāh, and José de Jesús Martínez, Chuchu, mathematician, philosopher, poet, pilot, professor, bodyguard, and right hand of General Omar Torrijos.
Project curated by Magnolia de la Garza, Associate Curator, Museo Tamayo.
Tamayo/Trayectos is a retrospective exhibition that shows the diverse ways in which Rufino Tamayo approached various classical art historical genres such as landscape, still life, portrait, female nude and genre scenes, as well as his incursion into the Indigenist and Surrealist movements.
The exhibition is comprised of 47 works from various museum and private collections, including loans from the Los Angeles County Museum of Art (LACMA) and the Berkeley Art Museum.
Exhibition curated by Juan Carlos Pereda, Tamayo Curator, and Adriana Domínguez, Assistant Curator, Museo Tamayo.
Tomorrow was already here is an exhibition that examines the historiographic turn in contemporary art through the works of artists who revisit past visions of the future. The Cold War becomes a setting for the predictive imaginaries of the period, focused on space exploration and architectural utopias. Selections of works from the collection contextualize the thematic axes of the exhibition and function as time capsules that present different iterations of the modern.
Artists in the exhibition: Julieta Aranda, Carol Bove, Fernando Bryce, Gerard Byrne, Johan Grimonprez, Kiluanji Kia Henda, Július Koller, David Maljkovic, Dorit Margreiter, Rita McBride, Steve McQueen, Matthias Müller, The Otolith Group, Pedro Reyes, Jane and Louise Wilson, and works from the collection by Kenneth Armitage, Martha Boto, Sérgio de Camargo, Adolph Gottlieb, Barbara Hepworth, Julio Le Parc, Matta, Henry Moore, Ben Nicholson, Victor Pasmore, Giò Pomodoro, Earl Reiback, Jesús Soto, Simon Starling, and Victor Vasarely.
Exhibition curated by Julieta González, Senior Curator, Museo Tamayo.
First Act takes as its point of departure the moment in which the museum’s ”curtain” re-opens at its re-inauguration ceremony. Primer Acto (First Act) uses this event’s social and political aspect to problematize the museum’s function in relation to the spectator, the artwork, space and critique. By employing rhetorical elements of the history of painting and theatrical representation—such as the mirror and the curtain—it attempts to demonstrate the link between expectations raised before any act or exhibition and what we see actually reflected on these stages. Also, various works critique and question the institution as a system that wields power over the public by defining a specific understanding and approach to art.
Artists in the exhibition: Mark Benson, Stefan Brüggemann, Andre Cadere, Mariana Castillo-Deball, Tacita Dean, Thomas Demand, Ceal Floyer, Lucio Fontana, Andrea Fraser, Douglas Gordon, Jonathan Hernández, Adad Hannah, Fritzia Irizar, Adriana Lara, Natalia Martínez, Nils Nova, Goran Petercol, Wilfredo Prieto, Ana Roldán, SUPERFLEX and Pablo Vargas Lugo.
Exhibition curated by Andrea Torreblanca, Associate Curator, Museo Tamayo.
Architectural commission: Gustavo Lipkau
Modulario is a space where the public may consult complementary information about the exhibitions and projects on view at the Tamayo Museum, through curatorial and artist’s material, books, documents, videos, and other sources.
This first edition of the Modulario has been entrusted to Mexican architect Gustavo Lipkau.
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