The centenary of surrealism invites us to review through a non-historicist approach, the very definition of reality that in 1924 required an expanded or problematized notion of its confines due to the role that technology played in life, war, and the collective aspirations for change that proposed the search for a new political spectrum. Members of the surrealist founding group, some of whom were refugees in Mexico as well as in the Southern Cone, sought to renew the ruins of culture after the political and economic catastrophe caused by the Great European War and the terrible demographic consequences left by the Spanish flu, as well as the appearance of fascism. These conditions seem to resonate like alarms in the present. Recovering the exquisite corpse as a toolbox for playful creation and surreal invention is particularly productive when thinking of the contemporary debate on Artificial Intelligence (AI). Today, artificial intelligence shows transmuted realities and creates an imaginary that exacerbates the idea of the world, as imagined by surrealism, altering processes, and changing perception and the human experience.
This group exhibition, in addition to recovering the old surrealist practice of the exquisite corpse, views archives as a disease without aspiration for a cure and art as a space for dreaming, waking, and acting. Likewise, it arouses questions in a non-literal way about the conjunction between neural networks, computer games, and linguistic models present in AI to acquire a productive dimension when contrasting them with the aspiration to create a new reality unfolded by the need to explore the matter of dreams and the human psyche. Do machines play just like humans? Can they feel or dream like they do in science fiction? Or in the words of ChatGPT artificial intelligence creator Sam Altman, are [these machines] a tool or a creature?
Curated by Gabriela Rangel and guest curator Verónica Rossi.
Karina Aguilera Skvirsky
Ingapirca: Piedra #8, 2019
Hand cut collaged and folded archival inkjet prints
43 x 56 cm (17 x 22 in) Unframed
45 x 58.4 cm (17.9 x 23 in) Framed
Edition of 3 + 2 AP
Leonora Carrington
Cama con muñeca, 1948
Polychrome wood (red sgraffito covered with black paint), metal, textiles: silk and cotton, plastic bead.
20 x 16 x 12 cm
7 3/4 x 6 1/4 x 4 3/4 in
Marcelo Cidade
Sur Realismo del Sur, 2023
Drawing made with stamp
Variable dimensions
Gunther Gerzso
La Ciudad y el Sol, 1957
Oil on canvas
54.5 x 73 cm
21 1/2 x 28 3/4 in
José Horna
La Cuna, 1949
Collaboration with Leonora Carrington
Carved wood, ropes and fabric
100 x 130 x 66 cm
39 1/4 x 51 1/4 x 26 in
Kati Horna
Serie: Hitler-Ei, 1936
Collaboration with Wolfgang Bürger
Gelatin silver print
17 x 11.8 cm
6 3/4 x 4 3/4 in
Magali Lara
Bajo los párpados (III), 2024
Pencil and pastel on paper
38.5 x 56.5 cm
15 1/4 x 22 1/4 in
Francisco Muñoz
Piedras aparentes Vol. 1, 2017
Charcoal print on cotton paper
55.3 x 45 cm
21 3/4 x 17 3/4 in
Edition 1 of 3 + AP
Diego Pérez
Dédalo en marmol, 2023
Marble
42.7 x 36.6 x 31.2 cm
16 3/4 x 14 1/2 x 12 1/4 in
Alice Rahon
El trío, S/F
Oil on canvas
37.5 x 27.3 cm
14 3/4 x 10 3/4 in
Xul Solar
Cuatro man sierpes. Catalogue Raisonné #768, p. 330, 1935
Color pencil on paper, mounted on cardboard
16.8 x 22.2 cm
6 1/2 x 8 3/4 in
Oswaldo Vigas
Vaquita, 1950
Encaustic on paper pasted on masonite
30 x 48 cm
11 3/4 x 19 in