CDMX,
CDMX,
Pumping Station
Teresa Solar
18 May 2019 - 31 Jul 2019
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Installation view.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Maquinaria de bombeo. Cortadura. Modelo Anatómico 2019. Enameled ceramic, metal structure. Unique. 180 x 50 x 30 cm.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Túnel. Boca de tormenta. Maquinaria de bombeo 2019. Enameled ceramic, metal structure. Unique. 180 x 50 x 30 cm.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Mano sobre mano, CHOQUE, Desierto. 2019. Fiberglass, automotive painting. 70 x 30 x 30. cm. Ed. 3 + 1 AP
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Installation view.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Cruceta. Pasta. Maquinaria de bombeo, 2019. Enameled ceramic, metal structure. Unique. 190 x 80 x 40 cm.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Installation view.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Installation view.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Circuito cerrado, Desierto, Déjame estar en tu cercanía. 2019. Metal structure, automotive painting. Unique. Variable dimensions.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Túnel, Cortadura, RETORNO. 2019. Fiberglass, automotive painting. 70 x 30 x 30 cm. Ed. 3 + 2 AP.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Túnel, AM HERE I, Modelo. Anatómico. 2019. Enameled ceramic. Unique. 70 x 20 x 20 cm.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Desierto. Tu voz rompiéndose en estática. Boca sobre boca. 2019. Bronze, plasticine. Variable dimensions. Ed. 3 + 2AP.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Being a person you didn’t know you were. 2019. Video Ed. 3.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Pequeña manía mecánica. 2019. Enameled ceramic. Unique. Variable dimensions.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Installation view.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Pasta, IHEEEEIR, Desierto. 2019. Enameled ceramic. Unique. 70 x 15 x 15 cm.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
AMHEEEEEH, Pasta, Maquinaria de bombeo. 2019. Enameled ceramic. Unique. 70 x 15 x 15 cm.
Teresa Solar. Pumping Station. 21 May 2019 - 31 July 2019
Túnel, Tu voz rompiéndose en estática, AMEEHEER. 2019. Enameled ceramic. Unique. 70 x 15 x 15 cm.
Somewhere in Aristotle’s ethics it is said that the thing that differentiates us from animals is our language capacity. Such a distinction cannot be applied to feelings; it would be wrong to think that other living beings do not have feelings, or as Aristotle said, that they feel things in a different way to us. Nevertheless, our language capacity manifests in such a distinct way that we can safely say that it is something unique to the human species. Such an assertion suggests that language is a faculty that is acquired in an evocative manner, but it could also be thought of as a mental organ, which enables us to speak, as if it were a tangible part of our body like a hand, an ear or a stomach. Just like when we eat and we ask ourselves: what happens in the stomach during digestion?  If language is an organ, this fact would beg the question: what happens in this organ when we speak?
It is fascinating to explore life and forms of communication. We know that animals communicate with one another, just like plants, and we constantly point towards artificial intelligence and the capacity of machines to think. We discern between speaking and communication: those that do not speak have not been endowed with the gift of intelligence, which is why we have been quick to give software its own voice, such as Siri and Alexa, two female voices that listen—and no doubt record—and interpret our voice and our wishes. Until recently, if someone alluded to a deeper form of communication with animals, they would come up against the condescension of those who believe that it is best to humour such fantasies or, at best, a metaphor that points to a desire but that does not represent reality.
It was recently discovered that there is a gut-brain communication axis, and hence the phrase “you are what you eat” is yet more pertinent, given that signals between the gut and the brain travel through the vagus nerve to the brain cells. In other words, the communication domain has expanded to a great extent, planting seeds of doubt within this modern alliance of language and power that is so heavily associated with the intellectual sphere. An increasingly more popular conviction is that a world uninhabited by words exists, but that does not mean to say it is a silent world. We must therefore ask ourselves: what happens in this domain?
The work of Teresa Solar is based on sculpture. Making and sculpting are two distinct actions, and in her first exhibition in Mexico, the artist asks that we ponder this difference. Most of the works presented here are based on making, an action that is squarely aimed at understanding the relationship between worlds that do not speak and those that do. From a historical perspective, when a work of art leaves us speechless, it is because we channel all potential for linguistic expression into it, and all that we are left with is the silence of contemplation. The work of Solar, however, keeps on talking. Her modelled sculptures bear witness to how hands, much like the vagus nerve cells of our gut, can establish a form of direct communication with the materials, with form and with space. Each turn of the potter’s wheel is felt by our hands, creating a communicative event that our hands remember. We must regard Solar’s pieces as if they were a modern-day databank. They may not look like large servers stored in air-conditioned chambers, but they are. They explore not only the memory of her pieces, but the great and eloquent memory of all the hands, movements, earth, potter’s wheels, shapes and hollow spaces that “making” has bestowed us with over time. Who could better address the need for imagining new epistemological strategies, not just for expanding our knowledge of all that surrounds us, but to understand how a lack of words does not equal a lack of understanding or the desire to decide on its own continuity and its own history?
These curves formed by the convergence of hands and materials, and those tubes with their convex forms do cast some doubt however: could it be that words are not that different from tangible things, that they are nothing but a form of representation and little else, which we would have used to build a world, just as Solar has done. We are transmitted information through our senses, which requires its own translation system: words. However, now we know that we can listen with our hands, think with our stomach and look with our skin.
Chus Martínez
Teresa Solar (1985, Madrid, Spain)
Teresa Solar works across sculpture, video, drawing and photography. Her audiovisual practice has been mostly focused on language, translation, and the construction of meaning. These topics remain at the core of her practice, but nowadays they are tackled mainly through sculpture. The tactile quality is fundamental in the artist’s sculptural practice, which focuses mainly on ceramics but also includes materials like fabric, resin or metal.
Solar’s imaginary has a strong narrative drive and her creative process often begins with the discovery of a story or an idea that she later explores in depth. Her exhibitions usually function as an entire whole, creating complex worlds that either draw from literary works of fiction, Natural History or more terrestrial narratives that are close to her personal story.
Her exhibition ‘Flotation Line’ at Der Tank in Basel drew from universal works such as Thomas Hobbes’s Leviathan and Herman Melville’s Moby Dick while in ‘Ride, ride, ride’ at Matadero Madrid the central figure was Nut, the Goddess of the Night in Ancient Egypt, a celestial creature that connects to her family history.
The daughter of a Spanish father and an Egyptian mother, Solar speaks Arabic, but she can’t read or write it, and this circumstance has greatly imbued her work, in which everything is a game with transit, language and its changing translation processes. The cultural and linguistic implications of her dual identity are palpable in her work as she constantly explores the transformation of matter, her objects constituting a hybrid between the manmade, the natural and the mythical.
Teresa Solar studied Fine Arts in Madrid and later graduated with an MA in Cultural Studies from UEM (Universidad Europea de Madrid).
Recent solo shows include ‘Ride, Ride, Ride’ at Matadero Madrid and ‘Flotation Line’ at Der TANK, Institut Kunst in Basel. She has taken part in group shows at CA2M, Madrid; Haus der Kunst, Münich, Fundación Marcelino Botín, Santander; Maxxi, Rome; General Public in Berlin; Kunstverein München; CA2M, Madrid and La Casa Encendida, Madrid.
She was a fellow at Akademie Schloss Solitude in Stuttgart and a Finalist at the Rolex Mentor & Protégé initiative, both in 2016. In 2018 she took part in the expedition “The Current” organized by TBA21-Academy and she conducted the workshop ‘White Whale, Palace of a Thousand Courtyards’, at Tabakalera San Sebastián.
Her work ‘Pumping Station’ will be on view at KölnSkulptur #9 curated by Chus Martínez, until June 2019. She will take part in the group show “Una dimensión ulterior” curated by Javier Hontoria at Museo Patio Herreriano de Valladolid opening on June 8th and on September 2019 her show  ‘Ride, Ride, Ride’ will open at Index Foundation, Stockholm.
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Look everyone I am here !
Milena Muzquiz
20 Jun 2019 - 27 Jul 2019
Milena Muzquiz. Look everyone I am here ! 20 de Junio 2019 - 31 de Julio 2019

Milena Muzquiz’s work with ceramics can be interpreted as an exercise of subjective scrutiny, as the disorganized accumulation of elements seeks to imitate the uneven and contradictory way in which the human mind works. “This exhibition is about collage and the fragmentation of life. The process of putting the ceramic pieces together is almost a dematerialization of the clay”. The artist creates her ceramic vessels through cutting and scoring, as if they were pieces of paper, eventually layering colors, patterns, tendrils, baubles and pendants. “I believe that this process allows other forces to collaborate with the work”. Adding this material freedom to the work opens the door to intuitive decision making, leaving out all preciousness and letting the work ‘happen’, as if it was claiming its own life. Humor and contradiction are key elements in Muzquiz’s work, seen here as she appropriates pop images from old magazines, and reproduces these mainstream images by hand, denying the original aim of pop art. 

The resulting sculptures are complex self-portraits, so full of movement, they’re almost performative. Even if they function as vases, they overflow mere functionality, presenting themselves as characters and thus replicating Muzquiz’s capacity to construct theatrical environments without the need of a script or a stage.

Her paintings, on the other hand, are a framed representation of movement and space, fragments of a visual experience, a pause of beauty seen from the side of one’s eye. They function as landscapes to the characters on stage. The layers and texture become a reference of time. Millions of images seen through a fast moving life and the beauty that can remain in one’s own mind. “Like a flash of color, the sky a dense landscape of words, animals and foliage”.

Muzquiz’s pieces are not so far from her performance art, whose international reputation was established as one half of the art band Los Super Elegantes (founded with Martiniano López Crozet in the 90s). The duo produced a combination of installation, video art and music, and performed for 15 years in institutional spaces including the Whitney Biennale, Frieze Art Fair, BALTIC Centre from Contemporary Art, Art Basel Miami Beach and the Musée d’Art Moderne de la Ville de Paris. With this project the artists referenced the fantasy of music understood as a moldable and open possibility; Muzquiz later translated this in her individual work by altering the dynamics of the exhibition space, incorporating performative and participative aspects.

Milena Muzquiz (Tijuana, Mexico, 1972) trained at the California College of Fine Arts, San Francisco and then completed an MFA at the Art Centre College of Design, Pasedena, tutored by legendary conceptual artist Mike Kelley.

She has presented solo exhibitions at: David Gill Gallery, London (2019); Pacific Standard Time: LA/LA, lead by the Getty Foundation (2017); Travesía Cuatro, Madrid, Spain (2017, 2014); Travesía Cuatro, Guadalajara, Mexico (2014); Pantaleone Gallery, Palermo, Italy (2010); Interior Projects, Los Angeles (2008); and Deitch Projects, New York, USA (2000).

She has also taken part in group exhibitions in museums and biennales including: Bohossian Foundation, Villa Empain, Brussels (2017); La Casa Encendida, Madrid, Spain (2016); Dickinson Gallery, NY, USA (2016); Peter Kilchmann (2015); 6th Liverpool Biennial (2010); 28th São Paulo Biennale (2008); Musée d’Art Moderne de la Ville de Paris (2007); Museum of Contemporary Art Chicago (2007); Whitney Biennial, Whitney Museum of American Art, New York (2006).

The artist lives and works in Los Angeles.