- This event has passed.
CANDELILLA, COATLICUE, AND THE BREATHING MACHINE at Ballroom Marfa
April 5, 2019 - September 1, 2019
Ballroom Marfa is pleased to announce our spring exhibition, Candelilla, Coatlicue, and the Breathing Machine. The exhibition features newly commissioned and existing works by artists Beatriz Cortez, Candice Lin, and Fernando Palma Rodríguez. The title refers to a facet of each artist’s contribution to the show, which ranges from wax pours to robotic storytellers to provisional shelters and beyond.
The varied installations and objects from these three artists weave together a conversation about the animate qualities of land; human and non-human migrations & cross-pollination; and the simultaneous existence of past, present, and future. Each artist spent time in Marfa and around the Big Bend, and these particular experiences and responses are reflected in the commissioned pieces.
New drawings from Candice Lin explore species common in the landscape around Marfa–cholla, creosote, ocotillo, among others–and were produced after the artist ingested tinctures she made of each of these plants. Lin will also create an immersive new installation conceived from her research on the biopolitics of the candelilla plant, whose distribution straddles the lower altitudes of the nearby US/Mexico border region.
Fernando Palma Rodríguez will make several new ‘mechatronic’ sculptures that address intersecting lands and histories in Texas and Mexico through choreographed spatial storytelling. These new pieces will be accompanied by existing kinetic works that will be re-programmed to respond both to elements in the gallery and to elements farther afield in the landscape.
A new installation from Beatriz Cortez in Ballroom’s courtyard explores different versions of modernity, nomadic architectures, and the future imaginary via geodesic domes constructed from chain link, folded metal, and scrapped car hoods. Cortez will also create a new machine for the exhibition that marshals her skills with metalwork and engineering to create a hypocycloidal mechanism that mixes air–that breathes–thinking about plant respiration and the Infinite Mixture of Things, Past, Present, and Future.
Altogether the exhibition puts these three important artists and their distinct bodies of work in conversation with and about lands, plants, and histories particular to U.S./Mexico border in West Texas. It facilitates the production of a slate of new objects and installations via Ballroom’s commissions, supporting new art, ideas, and relationships.