SMALL LANDSCAPES FROM NEAR AND FAR
THE CHIMNEY IS PLEASED TO PRESENT “SMALL LANDSCAPES FROM NEAR AND FAR” BY MEXICAN ARTIST PERLA KRAUZE. FOR THIS EXHIBITION, KRAUZE HAS DOCUMENTED TWO GEOGRAPHIES: THE MEXICAN LAND AND NEW YORK’S URBAN TERRAIN.
SEPTEMBER 6 - OCTOBER 20, 2019
In both locations, the artist gathered, altered and replicated earth’s fragments and recorded the effect of time on local street surfaces. Interlaced in a complex dialogue, these two combined sites represent a personal topography and an emotional map that questions the notion of territorial belonging.
On the gallery floor, Krauze built an undulating pavement made of flat and irregular ceramics, obsidian rocks, golf-leaf painted stones, pebbles, scraps of marble and granite slabs. Sourced mainly from Bushwick local stores and workshops, some of these materials were extracted from the American territory, while others were imported from countries such as China, Italy, Brazil and Turkey. Small stones collected in New Mexico –a land formerly owned by Mexico– are scattered on the ground. Hovering above the viewers’ heads are strings of volcanic basalt black stones from Nealtican in Puebla along with Oaxaca’s green stones and obsidians taken from the quarry nearby Teotihuacan. Mexico’s natural resources and New York’s mineral production mirror one another, intertwined in a complex “poetics of space”1 and an ecological network.
Throughout her numerous travels across her country - from ordinary walks in Mexico City to visits in quarry workshops in Puebla, Krauze has collected a large amount of local materials, continuously used and explored in her work. For her, they hold the memory of the place of their origin and attest to the spatial and physical implications of cultural and geological movements.
In New York, the artist carried out a similar topographic investigation in the area surrounding The Chimney. She recorded the neighborhood’s industrial and contemporary history by capturing the cracks and texture of the gallery’s floor and the streets’ asphalt scars. Using clay and rubber to fill in these urban fissures, Krauze then magnified these shapes by casting them in bronze. In her Landscape series, the imprints of these sculptures have a cartographic quality: the lines of the gallery concrete and eroding floor deceivingly appear like the shape of a coastal line or the marking of a stream.
Rather than solely considered through the spectrum of migration flows, cultural displacement is considered through our physical environment, from the earth’s crust micro-movements to the worldwide trade of stone and minerals for manufactured goods and construction projects. In "Small Landscapes from near and far", the shifting chronicled identities of Mexico and New York are revealed through traces and marks almost invisible to the passers-by in their original context. Dissolving borders and merging fractures, Krauze unmasks these two localities in an installation weaving both lands’ memories in an ode to diversity.
The Chimney and Perla Krauze would like to thank the following workshops and companies for providing the artist with various materials:
BLUE STONE CREATION INC.
COOPER TANKS RECYCLING
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 “Pavimentos” at Arroniz Gallery, Mexico City (2019); “Sparsa Colligo ”at Lelaboratoire, Mexico City (2019); “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 two-persons exhibition include “A dark and Scandalous Rockfall”, with Barbara Liotta at Instituto Cultural de Mexico, Washington DC, USA (2018); Krauze 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).