curated by Leslie Moody Castro
Opening Friday, July 5th at 19 hrs.
In their collaborative exhibition, Miguel Angel Salazar and Carlos Iván Hernández have produced a body of work that references the myths created when paleontology was a new field— myths also mirrored during the development of computer operating systems in the early 90s. Combined, the work illustrates the conformity of an ecosystem of the forgotten and the obsolete displaced both by technological and scientific advances.
Sobre la curadora
Leslie Moody Castro is an independent curator and writer whose practice is based on itinerancy and collaboration. She has produced, organized, and collaborated on projects in Mexico and the U.S. for more than a decade, and her repertoire of critical writing is also reflective of her commitment to place. She is committed to creating moments of artistic exchange and dialogue and as such is a co-founder of Unlisted Projects, an artist residency program in Austin, Texas. In 2017, she was selected as Curator and Artistic Director of the sixth edition of the Texas Biennial, and was recently the first invited curator in residence at the Galveston Artist Residency. Moody Castro earned a Master’s degree at The University of Texas at Austin in Museum Education with a portfolio supplement in Museum Studies in 2010, and a Bachelor’s degree in Art History at DePaul University in Chicago in 2004, and has been awarded two grants from the National Endowment of Arts for her curatorial projects (2016, 2017).
Sobre los artistas
Miguel Angel Salazar lives and works in Mexico City. He produces objects and videos that derive from a quasi-archaeological search of digital archives and the re-collection of personal memories. These digital and physical reproductions take on new forms as the artist reconsiders their association between the past and the present. Creating a bridge between the physical world and the digital one, with constant crossing from one to the other, Salazar explores the possibility of an interaction between new production processes and traditional ones. The reproduction of each object is an opportunity to fragment both digital and personal memories.
Carlos Iván Hernández studied visual arts and graphic design in Hermosillo, Sonora and in Mexico City. In 2014 he completed the program of contemporary photography at PFC Noreste, as well as seminars in 17, Instituto de Estudios Críticos in 2013, and the Vico Itinerante program in 2011. He has been part of exhibitions such as Maraña, at El Rastro, Hermosillo, Sonora, 2015, Despojo, at Museo de Arte de Sonora, 2014, Existe lo que tiene nombre, at San Francisco Camera Work, 2015, Las apariencias engañan, at Museo Universitario del Chopo, México D.F. 2015. He did a production residency at Transvisiones Alcobendas, in Madrid, Spain in 2015. Has been granted the Premio de Adquisición in the First Contest of Contemporary Photography in México by Fundación Mexicana de Cine y Artes 2012, and the 7th Bienal de Artes Visuales de Sonora 2010. Received a Jóvenes Creadores grant from Fonca 2013-2014 and another one from Fondo Estatal para la Cultura y las Artes FECAS Sonora in 2012-2013 and 2008-2009.