{"id":381,"date":"2022-02-09T15:22:11","date_gmt":"2022-02-09T15:22:11","guid":{"rendered":"http:\/\/jimricks.info\/jrp\/?p=381"},"modified":"2022-09-13T10:12:52","modified_gmt":"2022-09-13T10:12:52","slug":"las-personas-que-viven-en-casas-de-cristal-no-deberian-arrojar-piedras-people-who-live-in-glass-houses-shouldnt-throw-stones","status":"publish","type":"post","link":"http:\/\/jimricks.info\/jrp\/2022\/02\/09\/las-personas-que-viven-en-casas-de-cristal-no-deberian-arrojar-piedras-people-who-live-in-glass-houses-shouldnt-throw-stones\/","title":{"rendered":"Las personas que viven en casas de cristal no deber\u00edan arrojar piedras | People Who Live in Glass Houses Shouldn’t Throw Stones"},"content":{"rendered":"\n

Las personas que viven en casas de cristal no deber\u00edan arrojar piedras<\/strong><\/em>\u00a0<\/strong>es un proyecto del artista Jim Ricks y continuar\u00e1 durante algunos meses de 2022 como una investigaci\u00f3n sobre el arte p\u00fablico y el contramonumentalismo en el coraz\u00f3n de la Ciudad de M\u00e9xico.\u00a0Se compone de una vitrina, que est\u00e1 influenciada por la ‘Casa de cristal’ de alto modernismo de 1949 de Phillip Johnson.<\/p>\n\n\n\n

Calles Alfonso Reyes esquina con Ensenada, Condesa, CDMX<\/p>\n\n\n\n

People Who Live in Glass Houses Shouldn’t Throw Stones<\/strong><\/em> is a project by artist Jim Ricks and will continue for a few months in 2022 as an investigation into public art and counter-monumentalism in the heart of Mexico City. It is comprised of a glass box, which is influenced by Phillip Johnson’s high modernist 1949 ‘Glass House’.<\/p>\n\n\n\n

On the corner of Alfonso Reyes and Ensenada, Condesa, Mexico City<\/p>\n\n\n\n

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Caja modular V<\/strong><\/em>
y
Camuflaje<\/strong><\/em>
y
Tag, con floripondios<\/strong><\/em>
de
Victoria N\u00fa\u00f1ez Estrada<\/strong>
6 Feb \u2013 26 Mar, 2022<\/p>\n\n\n\n

Modular Box V<\/strong><\/em>
and
Camouflage<\/strong><\/em>
and
Tag, with flowers<\/strong><\/em>
by
Victoria Nunez Estrada<\/strong>
6 Feb \u2013 26 Mar, 2022<\/p>\n\n\n\n

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Comings and Goings<\/em>\u00a0<\/strong>
de Charlie Godet Thomas<\/strong><\/p>\n\n\n\n

El proyecto presenta cuatro obras de la serie de Thomas An Offering<\/em> (2021 – en curso). Estas obras toman la forma de ensamblajes a peque\u00f1a escala que representan puertas de entrada de atracciones de parques tem\u00e1ticos en las que las personas han perdido la vida. Thomas describe las obras como un medio para unir diferentes ideas, espec\u00edficamente las de puertas celestiales en la tradici\u00f3n cristiana, as\u00ed como la ofrenda mexicana, y la tradici\u00f3n cat\u00f3lica de hacer santuarios tanto en lugares de culto como en espacios p\u00fablicos. Una de estas obras se puede ver en la vitrina de la calle Ensenada 75, las otras est\u00e1n colocadas a dentro de la casa.<\/p>\n\n\n\n

Junto a estas piezas a dentro de la casa, Thomas ha instalado (Wel)come Back<\/em> (2022) y (Wel)come Home<\/em> (2022), obras que tambi\u00e9n son una eleg\u00eda, aunque de otro tipo. Estas obras se encuentran a medio camino entre la poes\u00eda y la escultura, y son emblem\u00e1ticas del inter\u00e9s de Thomas por una poes\u00eda de m\u00e1xima econom\u00eda. Thomas describe las obras como marcando el post-movimiento pand\u00e9mico que se aleja de la “cultura de la oficina” y menciona la invasi\u00f3n del entorno laboral en nuestros hogares.<\/p>\n\n\n\n

Comings and Goings<\/em>\u00a0<\/strong>
by Charlie Godet Thomas<\/strong><\/p>\n\n\n\n

The project features four works from Thomas’ series An Offering<\/em> (2021 – ongoing). These works take the form of small scale assemblages which depict entrance gates to theme park rides on which people have lost their lives. Thomas describes the works as a means to bring together different ideas, specifically those of heavenly gates in the Christian tradition as well as the Mexican ofrenda, and the Catholic tradition of making shrines both in places of worship and in public spaces. One of these works can be seen in the vitrine in the street at Calle Ensenada 75, the others are placed inside the domestic interior of the home.<\/p>\n\n\n\n

Alongside this work, again inside the house, Thomas has installed (Wel)come Back<\/em> (2022) and (Wel)come Home<\/em> (2022), works which are also an elegy, albeit of a different kind. These works sit precariously between poetry and sculpture, and are emblematic of Thomas’ interest in a poetry of maximum economy. Thomas describes the works as marking the post-pandemic movement away from \u201coffice culture\u201d, and considers the encroachment of the work environment into our homes.<\/p>\n\n\n\n

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Si quaeris miracula<\/em>\u00a0
<\/strong>de Romeo Mijangos Cavero<\/strong>.<\/p>\n\n\n\n

Jim Ricks Projects y Romeo Mijangos Cavero presentan tres piezas que forman parte del proyecto \u201cincipit comedia\u201d (2020 \u2013 en curso). La selecci\u00f3n de obra se conforma dentro y fuera de la casa aprovechando la arquitectura para denotar el privilegio de qui\u00e9n puede observar. En esta din\u00e1mica se despliegan elementos de inspiraci\u00f3n religiosa, lujo y poder que se muestran cu\u00e1l ‘relicarios de adoraci\u00f3n’; objetos encontrados basados en obras de artistas masculinos exitosos que representan la validaci\u00f3n casi divina del mundo del arte que representa el sistema occidental imperialista y heteropatriarcal. As\u00ed mismo se presenta un pol\u00edptico de un texto y dos dibujos a forma de p\u00f3sters comerciales que critican las exigencias, el \u201cdeber ser\u201d masculino, que perpet\u00faan estas aspiraciones: un camino de m\u00e1rtir hacia lo divino.<\/p>\n\n\n\n

Si quaeris miracula<\/em>\u00a0<\/strong>
by Romeo Mijangos Cavero<\/strong><\/p>\n\n\n\n

Jim Ricks Projects and Romeo Mijangos Cavero presents three pieces that are part of the \u201cincipit comedy\u201d project (2020 \u2013 ongoing). The selection of works is delivered inside and outside the house, taking advantage of the architecture to denote the privilege of who can observe. In this dynamic, elements of religious inspiration, luxury, and power are displayed. They are shown as holy relics; found objects based on works by successful male artists that represent the almost divine validation of in the art world which represents the Western imperialist, and hetero-patriarchal, system. Likewise, a polyptych of text and two drawings is presented in the form of commercial posters that criticize the demands of masculine expectations, which perpetuate these aspirations: a path as a martyr to the divine.<\/p>\n\n\n\n

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Mini Gran Juego<\/em><\/strong>
de
SANGREE<\/strong>
30.07.22 \u2013 11.09.22<\/p>\n\n\n\n

En “Mini Gran Juego”, SANGREE presenta un skate-scape en miniatura que est\u00e1 plagado de fragmentos de su propia pr\u00e1ctica. Las obras familiares y futuras del d\u00fao de artistas se encuentran esparcidas sobre una maqueta de cer\u00e1mica de un skatepark de fantas\u00eda completamente retorcido y diminuto. La exhibici\u00f3n llena la vitrina que esta en la calle y autocr\u00edticamente recuerda los sitios arqueol\u00f3gicos y los museos de historia natural, mientras se conecta de manera atractiva con un paisaje urbano contempor\u00e1neo joven.<\/p>\n\n\n\n

Mini Gran Juego<\/em><\/strong>
by
SANGREE<\/strong>
30.07.22 \u2013 11.09.22<\/p>\n\n\n\n

In “Mini Gran Juego”, SANGREE presents a miniature skate-scape that is littered with the fragments of their own practice. Familiar and future works by the artist duo lie strewn about a ceramic maquette of a completely gnarly, and tiny, fantasy skatepark. The display fills the street side vitrine and self deprecatingly recalls archeological sites and natural history museums, while being invitingly connected to a young contemporary urban landscape.<\/p>\n\n\n\n

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Las personas que viven en casas de cristal no deber\u00edan arrojar piedras\u00a0es un proyecto del artista Jim Ricks y continuar\u00e1 durante algunos meses de 2022 como una investigaci\u00f3n sobre el arte p\u00fablico y el contramonumentalismo en el coraz\u00f3n de la Ciudad de M\u00e9xico.\u00a0Se compone de una vitrina, que est\u00e1 influenciada por la ‘Casa de cristal’ […]<\/p>\n","protected":false},"author":1,"featured_media":382,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-381","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","has-thumbnail"],"_links":{"self":[{"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/posts\/381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/comments?post=381"}],"version-history":[{"count":21,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/posts\/381\/revisions"}],"predecessor-version":[{"id":458,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/posts\/381\/revisions\/458"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/media\/382"}],"wp:attachment":[{"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/media?parent=381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/categories?post=381"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/jimricks.info\/jrp\/wp-json\/wp\/v2\/tags?post=381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}