La casa de Guadalupe

Este proyecto editorial está dividido en dos partes: un texto introductorio -en español e inglés-, acompañado por imágenes alusivas a la Virgen de Guadalupe y una sección conformada exclusivamente por imágenes originales sobre los espacios que habita la Virgen. Las fotografías inéditas -a color y en blanco y negro-, tomadas a lo largo de los últimos 15 años en distintas partes del mundo -el taller, la calle, el mercado, etc., ponen de manifiesto la presencia de la Virgen en prácticamente todos los espacios de la vida cotidiana.

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Grave Desires

The queer angle of funerary art

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The Great Skull Project

The Great Skull Project deals with skulls in culture, bringing together photography, poetry and peer-reviewed articles by leading authors in the fields of Humanities, Social Sciences and the arts.

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Tlahuican Paradise

During the pre-hispanic period, Cuernavaca was the site of the mythical Aztec Tamoanchan.

The Tlahuicas-natives of the area in pre-Columbian times, beleived their paradise was also located in this area.

In the first half of the 20th Century, Cuernavaca and its outskirts gathered an interesting community of actors, politicians, aristocrats, businessmen, artists, scientists, thinkers and refugees from all over the world, who found in this place their own secret paradise.

This book is divided in three main sections: In the first one, text and images

are intertwined in a flexible and ironic way, construed as a travel diary; the second includes a collection of interviews and portraits of some of the famous people who lived in Cuernavaca during the first decade of the 20th Century.

The last part includes historic unpublished photographs and documents, that necessarily lead the reader to a reflection about a “forgotten paradise”.

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Mental Health Department

Approximately thirty years ago, as a result of the enforcement of the “Psychiatric Reform Law”, better known as the “Basaglia Law”, the Italian madhouses were definitively closed down.
The instruments used in chirurgical operations at such mental health centers, constitute the main object of each section of the exhibition. These instruments, mostly from the sixties, were found by the artist at the operation rooms of the few institutions that have been kept closed and untouched ever since.
Magnetic Resonance Images (MRI) of the chirurgical instruments are projected over the walls of the spyral structure of the “Artifacts” installation -built as a container of organs-. At it’s center, a human brain in formaldehide stands lit in the dark.
The series of photographs, shot at the desolate spaces of the old mental health institutions, evoke the memory of its former occupants; while the X rays of the instruments, mounted on light boxes, give birth to the process of expansion of memory.
The sound installation blends with the resonance of the wind while passing through the orifices of an old medieval ruin, and the caw of birds that nest in this hollow building.
These modern medical techniches applied to steady objects, transported to the artistic field, establish a counterpoint dialogue with the pencil drawings of Eva Gerd, transforming the instruments in post-organic bodies in continuous evolution.

Each one of the rescued objects, coated, sutured and embalmed rest in a larval state, lying on black satin pillows. With such burial in full sight, the ritual of the metamorphosis of the objects comes to its conclusion, but also the artists’ one, who -incorporated to their own work-, participate in the Platonic theory of the ideas and the doctrine of the shapes, where existence is divided in two spheres: the “intelligible” of the perfect ideas and shapes, eternal and undivisible; and the “sensible”, where the concrete and known objects belong.

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