Viewing Room Main Site

José Horna in collaboration with Remedios Varo, Rompecabezas cambia cabezas, 1955.

The centenary of surrealism invites us to review through a non-historicist approach, the very definition of reality that in 1924 required an expanded or problematized notion of its confines due to the role that technology played in life, war, and the collective aspirations for change that proposed the search for a new political spectrum. Members of the surrealist founding group, some of whom were refugees in Mexico as well as in the Southern Cone, sought to renew the ruins of culture after the political and economic catastrophe caused by the Great European War and the terrible demographic consequences left by the Spanish flu, as well as the appearance of fascism. These conditions seem to resonate like alarms in the present. Recovering the exquisite corpse as a toolbox for playful creation and surreal invention is particularly productive when thinking of the contemporary debate on Artificial Intelligence (AI). Today, artificial intelligence shows transmuted realities and creates an imaginary that exacerbates the idea of the world, as imagined by surrealism, altering processes, and changing perception and the human experience.

This group exhibition, in addition to recovering the old surrealist practice of the exquisite corpse, views archives as a disease without aspiration for a cure and art as a space for dreaming, waking, and acting. Likewise, it arouses questions in a non-literal way about the conjunction between neural networks, computer games, and linguistic models present in AI to acquire a productive dimension when contrasting them with the aspiration to create a new reality unfolded by the need to explore the matter of dreams and the human psyche. Do machines play just like humans? Can they feel or dream like they do in science fiction? Or in the words of ChatGPT artificial intelligence creator Sam Altman, are [these machines] a tool or a creature?

Curated by Gabriela Rangel and guest curator Verónica Rossi.

Selected Works

Karina Aguilera Skvirsky

Ingapirca: Piedra #8, 2019

Hand cut collaged and folded archival inkjet prints

43 x 56 cm (17 x 22 in) Unframed
45 x 58.4 cm (17.9 x 23 in) Framed

Edition of 3 + 2 AP

Leonora Carrington

Cama con muñeca, 1948

Polychrome wood (red sgraffito covered with black paint), metal, textiles: silk and cotton, plastic bead.

20 x 16 x 12 cm
7 3/4 x 6 1/4 x 4 3/4 in

Marcelo Cidade

Sur Realismo del Sur, 2023

Drawing made with stamp

Variable dimensions

Gunther Gerzso

La Ciudad y el Sol, 1957

Oil on canvas

54.5 x 73 cm
21 1/2 x 28 3/4 in

José Horna

La Cuna, 1949

Collaboration with Leonora Carrington 

Carved wood, ropes and fabric

100 x 130 x 66 cm
39 1/4 x 51 1/4 x 26 in

Kati Horna

Serie: Hitler-Ei, 1936

Collaboration with Wolfgang Bürger

Gelatin silver print

17 x 11.8 cm
6 3/4 x 4 3/4 in

Magali Lara

Bajo los párpados (III), 2024

Pencil and pastel on paper

38.5 x 56.5 cm
15 1/4 x 22 1/4 in

Francisco Muñoz

Piedras aparentes Vol. 1, 2017

Charcoal print on cotton paper

55.3 x 45 cm
21 3/4 x 17 3/4 in

Edition 1 of 3 + AP

Diego Pérez

Dédalo en marmol, 2023


42.7 x 36.6 x 31.2 cm
16 3/4 x 14 1/2 x 12 1/4 in

Alice Rahon

El trío, S/F

Oil on canvas

37.5 x 27.3 cm
14 3/4 x 10 3/4 in

Xul Solar

Cuatro man sierpes. Catalogue Raisonné #768, p. 330, 1935

Color pencil on paper, mounted on cardboard

16.8 x 22.2 cm
6 1/2 x 8 3/4 in

Oswaldo Vigas

Vaquita, 1950

Encaustic on paper pasted on masonite

30 x 48 cm
11 3/4 x 19 in

Installation Images

Installation Images Thumbnails