XXXXXXXXXX

2014

XXXXXXXXXX es un atlas personal de usos de la letra X en arquitectura mexicana contemporánea.
La discusión sobre la letra X en Mexico se remonta a la época de la colonización española y el centro de la discusión radicaba en si el nombre de México debía escribirse con X o J. Para hacer esta larga historia corta, en cierto punto, la X fue aceptada como letra oficial para escribir el nombre México.
La X se volvió uno de los símbolos oficiales representativo del cruce cultural entre la tradición prehispánica y la nueva identidad mestiza, un icono simbólico del nacimiento del moderno estado mexicano. En tiempos cercanos a la revolución, arquitectos y urbanistas oficiales comenzaron a utilizar la X como un recurso para pensar, proyectar, construir y reforzar.
La maravillosa jistoria de la X de Mexico opera como una ficción fundacional de modernidad.
Yo tomo esta historia nacional como punto de partida. La uso como exusa para reflexionar lúdicamente sobre la constitución de mi identidad y para hablar sobre historia, poesía, imagen, spacio, a-mor, cuerpo, dios, tiempo, lenguaje y de nada. Este es un oxymoro ejercicio ambicioso y pequeño a la vez.
Por qué crear a partir de la arquitectura? Porque esta funciona como soporte conceptual y representación del juego entre estructura, lenguaje y el cuerpo.
Por qué señalar México? Porque nací en Argentina, vivo en México, y activar esta dualidad y visión en escala es re-activar la idea de América como un arquetipo de la utopia.
No quiero establecer una verdad enciclopédica. Me interesa desarrollar una cosmografía que documente de manera poética mi relación con la historia. Mas allá de la búsqueda de conocimiento o saber, este es un método y documento personal donde categorías como arte, ciencia, religión y política colapsan o al menos son miradas con cierta oscuridad y humor. Cuando estas categorías o palabras son criticadas, también critico mi uso de disciplinas y formas en busca de una especie de des-educación.
Este trabajo puede ser un caos de movimientos en múltiples direcciones pero al mismo tiempo opera como epicentro de un sistema de experiencia. Es como cantar 4 verdades. Una negociación entre quien soy como individuo y que somos como cosa social e imagen histórica. Es la forma de una confusión y deseo.

XXXXXXXXXX is a personal atlas of the ways in which the letter X has been used in contemporary Mexican architecture.
The discussion around the letter X goes back to the Spanish conquest. At the core of the debate was whether to spell the colony’s name “Mexico” or “Mejico.” To make a long story short, at a given point spelling Mexico’s name with an X was officially accepted.
The X became a symbol of the junction of the pre-Hispanic tradition and the new mestizo identity, a symbolic icon of the birth of the modern Mexican state. Shortly after the Mexican Revolution of 1917, the state’s architects and urbanists used the X as a resource to think, project, build, and reinforce structures.
The marvelous history of the X in Mexico is the foundational fiction of the country’s modernity.
This is the point of departure for my project, an excuse to engage in a playful reflection on the construction of my own identity and to speak about history, poetry, the image, space, love, the body, God, time, language, and nothing in particular.
An oxymoron: this is both an ambitious and small project.
Why architecture? Because it provides a conceptual framework and a representation of the play between structure, language, and my body.
Why Mexico? Though I was born in Argentina, I live in Mexico. To activate this duality and vision is to reactivate the idea of America as an archetype of utopia.
I do not seek to establish an encyclopedic truth. I want to develop a cosmography that documents my relationship to history in a poetic way.
This work can be a chaos of movements in multiple directions but, at the same time, operates as the epicenter of an experiential system. It’s like getting something off my chest. A negotiation between who I am on my own and what we are as a social and historic body. This is also the form that confusion and desire have taken.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Untitled. Inkjet print on paper. 55 x 55 cm.

Untitled. Inkjet print on paper. 55 x 55 cm.



Parque de las Américas. Color marker on paper. 60 x 90 cm.

Parque de las Américas. Color marker on paper. 60 x 90 cm.



Installation view at the exhibition Mexico City - Spectacular Vernacular. Providence College Galleries. Rhode Island. 2015.

Installation view at the exhibition Mexico City – Spectacular Vernacular. Providence College Galleries. Rhode Island. 2015.



Installation view at the exhibition Mexico City - Spectacular Vernacular. Providence College Galleries. Rhode Island. 2015.

Installation view at the exhibition Mexico City – Spectacular Vernacular. Providence College Galleries. Rhode Island. 2015.



Installation view at the exhibition La Voluntad de la Piedra. Museo de Arte Carrillo Gil. 2014.

Installation view at the exhibition La Voluntad de la Piedra. Museo de Arte Carrillo Gil. 2014.



Installation view at the exhibition La Voluntad de la Piedra. Museo de Arte Carrillo Gil. 2014.

Installation view at the exhibition La Voluntad de la Piedra. Museo de Arte Carrillo Gil. 2014.



Installation view at the exhibition La Voluntad de la Piedra. Museo de Arte Carrillo Gil. 2014.

Installation view at the exhibition La Voluntad de la Piedra. Museo de Arte Carrillo Gil. 2014.



View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.

View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.



View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.

View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.



View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.

View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.



View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.

View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.



View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.

View from the book XXXXXXXXXX. 200 pages. Rishographic printing. Self published in México City in 2014.