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Jay Vélez
Building 1
Armex prefabricated column and inflatable structure
41 1/3 x 5 x 7 1/12 in
2018
Since the mid-1960s the technology of the city, structural systems and the attitude towards objects of design changed. Due to the introduction of prefabricated elements in construction and advances in plastics technology, we can now perceive the city as part of a flow of energy in which diverse materials converge in everyday life. Aware of these relationships between different materials in his recent explorations, Jay Vélez works with the temporary nature of inflatables as formless bodies. In Building 1, the neon-colored inflatable—light and endowed with transparency—is an air column supported by a prefabricated construction, rendering it completely immobile. For (Housing) Unit(y) Project we decided to place this sculpture amidst the rubble and dry weeds that now cover what was once the pool into which the slides descended. The structure rises like a contemporary obelisk under the sun, reminding us of inflatable pool toys but also foreboding the possibility of zombie architecture going against the grain of the reclaiming of the area by nature.
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Jay Vélez
Seeds
Thermoformed plastic, marble and granite
Variable dimensions
2019
The brick poolhouse, once white, now features graffiti that reveals its use and appropriation by a certain community that visits it. It is located near the entrance to the housing complex and has been used for clandestine meetings. If we look at the garbage left behind among the leaf litter and rocks, we can find cigarette stubs, empty beer bottles, cans, toilet paper, used condoms, syringes, broken glass and home pregnancy tests.
As if they formed part of the preexisting garbage, Jay Vélez placed sculptural objects made of red plastic cups fused with marble and granite slabs on the roots and leaves of a huge old rubber tree next to the poolhouse. When this tree’s bark is cut it exudes sticky white liquid, which is latex, and when it comes in contact with the air it begins to clot and solidify, undergoing a change in color from white to black while becoming rubbery and malleable.
To fuse the plastic to the stone, Vélez carried out a very different process to the coagulation of latex into rubber: the thermoforming process consists in heating a panel or sheet of plastic (in this case the plastic cup) to soften it and adapt it to the desired shape (in this case the stone). In this manner, the artist creates fluid bodies that attenuate the contradictory natures of the red plastic cup (its everyday festive use) and the sumptuousness of marble and granite.
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Photo
Jay Vélez
Roof/Slide (Basic Shelters)
Wood, clay roof tiles and mold
35 ½ x 10 x 40 2/3 in
The work refers to the identifiable typology in many houses in the city of Cuernavaca that people have dubbed the "Cuernavaca style". One of the particular elements of this style is the use of clay tiles on four-sided roofs. Jay Vélez places the tiles upside down, sequentially one under another on a wooden structure, alluding to buildings and also to the convex shape of slides or chutes that lead into the pool in the common area of this housing complex.
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Photo
Gabriela Bernal
Suspended: Second & Last Invented Mourning Ritual (2018)
1. Cochineal-dyed sheep’s wool & cotton macramé. Variable dimensions.
Sound piece of performatic singing. 4′24′’ min
2. Huaca Sangorache. Cochineal-dyed sheep’s wool macramé, dried amaranths. 12 x 9 in
This work was created in 2018 and is made up of two pieces of handcrafted macramé with which the artist interacted, creating a performance made in Tepoztlán and documented on video. Suspended by one piece of macramé, with another covering her upper body, Bernal represents her own siki, an imaginary line in the Andean worldview, which indicates sites suited for burials. She invented her own ritual to create a funerary huaca, working with natural materials that are personally relevant to her in terms of their symbolism, meaning and the memories (both chromatic and ceremonial) they evoke; she thus explores her own pain and feelings through sensory self-stimulation, creating a song/lamentation that symbolically establishes the site of the newly created grave.
For (Housing) Unit(y) Project, we have installed one of the pieces of fabric hung from a tree inside the housing unit, inhabiting it in a different way. Gabriela relocates a ritual concept from Ecuador, her home country, to the regular architecture of a housing unit in Mexico. Instead of displaying the video, we have chosen to present only the audio of the song/lamentation generating a distinct acoustic space.
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Edgar Ortega
On the Other side of the Water (2019) Raw clay. 19 2/3 x 12 x 12 in
Dated around 1400, the foundation stone of the town of San Antonio Analco is made of basalt and represents the shape of a lizard. The stone disappeared in 1521 and was re-discovered in a site in San Antón in 1910 along with another called “La Servilleta”. Its state of conservation is not the best since the head of the lizard was mutilated as people considered it bad luck. The stone was taken years later to the Casona de Cortés, where it is still found, functioning in this way as a sort of “re-conquest” of the territory that was taken by the Spaniards upon their arrival in Cuernavaca. Edgar Ortega is inspired by the symbolic act of destruction of the stone, and as a meta-sculptural act, he reconstructs the head of the lizard.
Instagram: @edgar.ortega.mendez
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Photo
Edgar Ortega
Tomar la gran ciudad / Taking Over the City (2019) 1. Sculpture (Plastic horse, wood balustrade and book by Hernán Cortés Cartas de relación) 44 ½ x 8 x 8 in 2. Painting (Acrylic on wood) 15 ½ x 11 2/3 in 3. Prayers That Open Paths (Inkjet print on paper, 90 copies) 2 x 1 ½ in each
During the Conquest, the Spaniards entered Morelos from the east. Cuernavaca was guarded by the Texcocanos and access was allowed through three drawbridges. One of them was in the Amanalco ravine in what is now the Miraval neighborhood, where Hernán Cortés managed to enter with his soldiers. The legend says that Cortés made a pact with the devil so that his horse Rucio would grow wings and be able to enter the city flying. The bridge is known as the Devil’s Bridge and it is an alley with a plaque where this deed is briefly narrated. In this work, the winged plastic horse on a wooden banister refers to a Roman column that rises on the Letters of Relation of Hernán Cortés. The column is accompanied by a 1: 1 acrylic painting reproduction of the plate located in the alley.
The prayer says:
ABRECAMINOS
Fuerza todo poderosa y suprema
Busco tu bendición el día de hoy
Que tu reino llene de luz mi vida
Que tu guardia proteja mi destino
Que tus manos siembren en mí la semilla.
A lo largo de todo mi camino.
Te solicito con humildad
Que me guies por el sendero de lo próspero.
Que tu bendición recaiga en mi vida.
Así como en la de los demás.
Te imploro fuerza eterna
Que mis palabras sean escuchadas.
Destierra toda carencia.
Que se abran todos los caminos.
Que hoy desaparezan todos los obstáculos.
Que las barreras caigan por su peso.
Que así sea hoy y siempre.
Instagram: @edgar.ortega.mendez
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