PABELLÓN DE LAS ESCALERAS

Guadalajara 90210 x The Chimney

presenting works by
Adeline de Monseignat, Perla Krauze &
Mariana Garibay Raeke


February 2 - March 4, 2019

Naranjo 96, Col. Santa Maria, Mexico City

The Chimney is pleased to participate in “Pabellón de las Escaleras” (Pavilion of stairs), a site specific project organized by Guadalajara 90210 in Mexico city in an under construction building in Santa María la Ribera. This exhibition takes the form of a pavilion of stairs made by artists from different disciplines, functioning as an artisan sculptural park. Artists, architects and urban designers are invited to reflect on the image and concept of the stairway and to transform the building into a surrealist site. The Chimney will take over three rooms in the space to present the work of Adeline de Monseignat, Perla Krauze and Mariana Garibay Raeke.

Adeline de Monseignat presents La Escalera Sin Fin (2019) exhibited for the first time at "Pabellón de las Escaleras”. Made of painted steel, the sculpture represents a ladder that folds onto itself caught in an eternal rotative motion. While ladders symbolically lie as a vertical elevation towards the celestial realm and functionally represent a construction tool, De Monseignat’s work appears like a good old-fashion wheel and therefore grants her cyclical-like sculpture a horizontal and forward motion.

The Mexican artist Perla Krauze has long been fascinated by the symbolic and mythical concept of the ladder as a path that ascends, descends as well as a process of transformation. In Ascenso y descenso (2019), this installation, the artist presents different ladders and stairs moving in multiple directions. From resin, cement to volcanic rocks, some sculptures are suspended from the ceiling, others intercept the space, while some steps lay on the wall. Set in an almost-surrealist environment, Krauze explores the poetics of this universal symbol.

De Piedra, Tierra y Arena by Mariana Garibay Raeke is a site-specific installation inspired by the unfinished state of the exhibition space. Informed by construction materials and techniques, the artist casts bricks in to-go plastic containers and makes fragmented drapes of concrete, soil and sand mixed with seeds - an embedded possibility of change.  The resulting objects play off of each other while mimicking and transforming the future living space. This temporal arrangement is an exploration of material possibilities and a response to exposed bricks, raw surfaces, makeshift stairs and the way light and shadows fill the space at different times of the day.


Adeline de Monseignat (b.1987) is a sculptor who lives and works between London and Mexico City.  Her work translates an interest in psychology, mythology, urban legends, anthropology and other literary sources which refer to birth, fertility, anthropomorphism and the uncanny.  Through the process of sculpting, the artist aims to provide physicality and functionality to such intangible concepts.  Adeline works primarily with organic, mineral, sensual, strong yet vulnerable materials such as fur, glass, textiles, steel and marble that aim to echo the human body’s qualities, vulnerabilities and potentialities. She completed her BA in Language and Culture at UCL (2009), Art Foundation at the Slade School of Fine Art (2010) and her MA in Fine Art at City & Guilds of London Art School (2011).  Selected Solo Shows include O' at Ronchini, London (2018), 'L'Attesa' at Exchiesetta, Polignano a Mare, Italy (2017), 'Home' at Ronchini, London (2014).  Selected Group Shows include 'Skulpturenpark' at Lisa Kandlhofer, Vienna (2018), 'Polarities' at Totah, New York (2018), ‘Synergia’ at Galeria de Arte Méxicano, Mexico City (2018), 'Contemporary Sculpture Fulmer' at William Benington (2017), 'Force of Nature' curated by James Putnam, Mile End Art Pavilion, London (2017), ‘House of Penelope’, Gallery 46, London (2017), 'UK/raine' at Saatchi Gallery, London (2015), ‘Whispers’ curatorial project at Ronchini, London (2015), 'Time to Hit the Road' at Leila Heller, New York (2014), ‘Articulate’ curated by Jeremy Lewison at Victoria Miro (2013), ‘The London Project’ curated by Gerson Zevi at Yorkshire Sculpture Park (2013), ‘The Uncanny’ curated by James Putnam at Ronchini, London (2013), amongst others. De Monseignat received the following prizes: Royal Society of Sculptors Bursary Awards (2013), Fack West London Art Prize (2013), The Catlin Art Prize (Visitor's Vote Prize Winner, 2012) and Arcadia Missa Gallery Prize (2011).

Perla Krauze (b.1953) works and lives in Mexico City. She completed her M.A in Visual Art at the Chelsea College of Art, London (1993). Her body of work forms part of the collections at the Museo de Arte Moderno in Mexico City, the Museo de Arte Contemporaneo/ Museum of Contemporary Art in Oaxaca City, Museo de Arte Carrillo Gil/ Carrillo Gil Art Museum, Museo de la Secretaría de Hacienda y Crédito Público and the Scottsdale Museum of Contemporary Art in Arizona. Her most recent solo exhibitions include “A dark and Scandalous Rockfall”, Instituo Cultural de Mexico, Washington DC, USA (2018); “Materia lítica: Memoria/Procesos/Acumulaciones”, Museo Amparo, Mexico City (2017); “Topografías y Constelaciones,” Le Laboratoire, Mexico City (2017); “Suspended Blues,”Gal Sonja Roesch, Houston, USA (2013); “Structure/Imprints,” Howard Scott Gallery, New York (2013); “Pino Suarez 30, Intervención y Memoria”, Museum of the City of Mexico, Mexico City (2012); “Light and Time,” Galeria Kunsthaus Miami, Miami, USA (2008); “Perla Krauze,” Chiaroscuro Gallery, Santa Fe,USA (2004); “Huellas en el Tiempo”,Instituto de México, Madrid, Spain (2004).  Her work was included in numerous group exhibitions, notably at the Museum de las Bellas Artes in Mexico City; the Museum of Contemporary Art in Oaxaca; Gebert Contemporary in both Santa Fe and Los Angeles; Banff Center for Arts in Banff, Canada; the Museo Ludwig in Hungaria; and at the Biennial de Pintura Rufino Tamayo in Mexico City, amongst others. Krauze was awarded many residencies, such as the Red Gate Artist Residency in Beijing, China (2015); Beca de Fonca at the Sistema Nacional de Creadores de Arte in Mexico City (2013-2016); MacDowell Colony residency with the Ellenor Briggs Fellowship (2012); Echigo Tsumari Art Triennial in Japan (2009) ; Fonca Residency in Banff Centre for the Arts in Canada (2002).

Mariana Garibay Raeke (b.1977 Guadalajara, Mexico) completed her BFA at California College of the Arts, San Francisco (2012) and her MFA at Yale University School of Art, New Haven (2014). Her solo exhibitions include "closing the space between us: touch and the topology of galaxies," The Chimney NYC (2018); “Every Number is One”, Transmitter, Brooklyn (2015); “Polychromes”, Zughaus Gallery, Berkeley, CA (2012); “Life Elsewhere”, The Consulate General of Mexico, San Francisco, CA (2007) among others. Her work has been included in group exhibitions at  Selenas Mountain (Ridgewood), Fortnight Institute (New York), The Chimney NYC (Brooklyn), Harvey/Meadows Gallery (Aspen), Transmitter (Brooklyn), Instituto Cervantes (New York), Cornell University (Ithaca), Oakland Museum of California (Oakland),  de Young Art Center (San Francisco), SFMOMA Artist Gallery (SF), The Consulate General of Mexico (SF), among others Garibay Raeke has participated in residency at Pocoapoco, Oaxaca, Mexico (2019); the Museum of Arts and Design, New York (2017); Anderson Ranch Arts Center, Snowmass, CO (2016), the Kala Art Institute, Berkeley; and the Fine Arts Museum of San Francisco, San Francisco (2005).   She was a founding member of Grupo < > (2015-2017) a collective focused on supporting and promoting the work of Latin-American women artists in New York and is a co-founder and editor of Asteroids and Asterisms a digital publication of conversations with artists on the nature of making and matter.