Zona Maco 2018 Highlights

Here is an exclusive look at some of my favorite pieces from Zona Maco:

TroikaCompression Loss (Venus), 2017

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White jesmonite, concrete plinth |  65 x 19 3/4 x 19 3/4 inches

 In this new series, Troika take iconic figures and forms and deconstruct them into separate 'slices'. Stemming from Troika’s continuing interest in reductionism and emergence, these sculptures investigate the notion that a whole is greater than the sum of its parts.

Fahrenheit 451 (Grey Series), 2012

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Electric charge on paper | 11 3/4 x 8 1/4 inches

Troika’s ‘Light Drawings’ encompass multiple projects, which all rely on variations of the same mark-making process. The organic, irregular forms seen in these drawings, including ‘Cartography of Control’, are made by burning paper with an electric charge, which manifests as intricate repeat-basic patterns.

A Labyrinth of a Straight Line, 2017

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Copper tape and kapton tape on canvas |  37 1/8 x 24 3/4 inches

The work takes its starting point from a recursive algorithm which is commonly used to search and navigate large amounts of data — a computing process which Troika have translated and reenacted on a human scale.

Vivian SuterCompression Loss (Venus), 2017

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Acrylic and mud on canvas | 96 x 69 inches

Vivian Suter has lived and worked on a former coffee plantation in the small town of Panajachel, located in the volcanic Guatemalan uplands. She does much of her work outdoors, regarding each piece as a physical response to the circumstances in which they are made.

Rosemary LaingDrapery and wattle, 2017

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Archival pigment print | 39 x 60 inches

Rosemary Laing’s series Buddens explores the romantic notion of sanctuary in nature by documenting a constructed shelter that replicates a river flow with red-toned clothes. This series is shot along the river coast in Wreck Bay, New South Wales.

Gabriel RicoDiez, 2018

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Brass, neon, glass, branch, baseball, polystyrene, ceramic, shell, rock, goat skull and metal | 19.7 x 98.5 x 5.9 inches

With a post-Surrealist approach, artist Gabriel Rico uses a range of materials, from taxidermy animals and preserved insects to neon shapes and found natural objects, to create environments addressing the relationship between nature, architecture and the future ruins of civilization.

Jose Dávila Every Finding Has Its Consequences, 2018

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Quarry, concrete brick and synthetic apple |  55 1/8 x 15 3/4 x 15 3/4 inches

In this series, Dávila introduces sculptural objects that are less neutral than the building materials he normally uses. The apple opens up a conversation about Newton’s discovery of universal gravitation and the piece itself uses weight and balance to create the final composition.

Yoan Capote Racional, 2008

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Aluminum on a marble base | 28 1/8 x 13 x 7 7/8 inches

Capote merges incongruous items in his sculpture, such as human organs and mundane objects, to plumb ideas of humanity. His work deals with the intimate and the personal while investigating constructions that are based in power and difference.

John M. Armleder Primula pharinosa, 2003

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Acrylic on canvas | 94 ½ x 47 ¼ inches

Known for an aesthetic that is distinguished by the absence of a characteristic style, John Armleder’s work spans several different mediums and is loosely connected by a non-hierarchical understanding of art based on the themes of appropriation, humor, and chance. This piece was made by allowing paint to run down from the top of a canvas, mixing with previous pours. Glitter makes the brittle surfaces twinkle.

Hugo McCloud 3049, 2017

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Aluminum foil, aluminum coating and oil paint on tar paper | 71 x 60 inches

Self-taught with a background in industrial design, McCloud’s practice is unrestricted by classical, academic tenets. Drawing inspiration from the rawness and decay of the urban landscape, McCloud creates rich, large-scale abstract paintings.

Lawrence Weiner How Much is Enough, 2017

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Porcelain enamel on steel | 13 7/8 x 13 7/8 inches

Influential conceptual artist Lawrence Weiner is known for his language-based sculpture and works pursuing inquiries into language and a radical redefinition of the artist/viewer relationship.