Galia Eibenschutz  (Mexico City, Mexico,1970)

Multidisciplinary artist, she develops her work between the performing and visual arts. She explores themes such as the registration of movement and the passage of time, and the scenic presence of the body and its projection in architecture. She studied Visual Arts at the Universidad Nacional Autónoma de México's Escuela Nacional de Artes Plásticas and a MFA from DasArts in Amsterdam.

The artist's drawing and movement laboratory -presented at numerous universities and art spaces in Mexico and the United States- is a fundamental part of her practice. She has exhibited work at Mexican venues such as Arte Abierto, Casa Wabi, the Hospicio Cabañas, the Museo de Arte Carrillo Gil, the Museo Jumex, the Museo Tamayo, the Museo Universitario del Chopo, Laboratorio Arte Alameda, Sala de Arte Público Siqueiros and Teatro de la Danza.

She has also collaborated with international spaces such as Assembly (New York), Center for the Arts and Communication (Art Basel, Miami), Stedelijk Museum voor Actuele Kunst (SMAK, Amsterdam), The Cedar Cultural Center (Minneapolis) and YYZ (Toronto), among others. She was selected as a choreographer by the Mcknight Foundation (2019) and as a commissioned artist for the 15 Bienal FEMSA (2024).

She is currently a member of the Sistema Nacional de Creadores de Arte de México.

Julio Le Parc  (Mendoza, Argentina, 1928)

Julio Le Parc is one of the most renowned figures in the field of research, and experimental visual arts focused on modern Op-Art, whose influence spans from the mid-20th century to the present. He studied at the Universidad Nacional de las Artes in Argentina, where he was first interested in the relationships between light and form. Immersed in the radical environment of the student movements of his native country, between 1955 and 1958, he participated in the occupations of the Academy of Fine Arts and the reformulation of its programs, oriented by the proposals of avant-garde artists such as the Arte Concreto-Invención movement and where he met the influential art critic Jorge Romero Brest.

In 1958 he traveled to Paris after receiving a scholarship from the French Cultural Service, where he met artists such as Victor Vasarely and other important representatives of Kinetic art. From them, Le Parc extracted not only its formal proposals regarding movement but also its political implications to articulate aesthetic experiences without the need for previous knowledge or any sort of familiarity with the art world. Such implications derived into collective practices of the Groupe de Recherche d’Art Visuel (GRAV), of which he was a founding member, guided by a rejection of the position of art in capitalism. The collective emphasized anonymity and the participation of spectators through the application of industrial, mechanical, and kinetic techniques alike.

Afterwards, he participated in the Atelier Populaire during May 68 in France, as well as in various avant-garde radical publications, anchoring his production – always close to Kinetism – in a social and political commitment that conceives spectators no longer as participants in the work, but as co-authors of it.

Currently lives and works in Paris, France.

Magali Lara (Mexico City, Mexico, 1956)

Magali Lara is considered a central figure of feminist postmodern art in Mexico. She has a degree in Visual Arts for Plastic Expression from the Universidad de Guadalajara and a Master of Arts from the Universidad Autónoma del Estado de Morelos. With more than 40 years of artistic practice based on collaborations with poets and performers, Lara has developed a multidisciplinary practice that explores issues related to the unconscious, everyday life, emotions, the body, the feminine, and the “otherness”.

Influenced by women painters of the Mexican school such as María Izquierdo, Olga Costa, and Frida Kahlo, Lara takes up an interest in still life, objects, and dreamlike atmospheres. These elements are used to compose a unique symbolic language that she has brought to the fields of animation, drawing, writing, ceramics, the artist’s book, painting, and textiles. Mainly associated with Conceptual art, Magali Lara has been constantly working on a “poetics” that delves into the body, intimacy, desire, motherhood, childhood, sexuality, and everyday life; all this from a perspective of subjectivity. Starting from the ordinary and the visceral of the human body allows her to make a philosophical review of the human condition, something that the artist considers essential in the social function of art.

Since the nineties, she has worked at the Facultad de Artes de la Universidad Autónoma de Morelos. She currently forms part of the Academic Committee of the Master’s Program in Artistic Production and regularly serves as a juror for biennials and academic programs. She is a member of the Sistema Nacional de Creadores FONCA, which she accessed for the seventh time in the 2020-2023 period. In 2019 she received the Medal of Merit in Arts from Mexico City’s Congress and in 2024 she was awarded the Medal of Fine Arts by the Instituto Nacional de Bellas Artes y Literatura in Mexico.

She currently lives and works in Cuernavaca, Mexico.

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923 - Paris, France, 2005)

Jesús Rafael Soto was an influential and central figure of post-war global modernism. He participated in the group exhibition Le mouvement (1955), at the Denise René Gallery in Paris, one of the foundational moments of the style. Throughout his career, he was prominent for the redefinition of the social role of art, rooted in wide research about the spatial-temporal quality of the artistic object.

Soto studied Fine Arts in Caracas, then he moved to Paris in 1950, where he became a part of the international group of artists that sought to renew the experimental art scene. Even though he has been commonly associated with Op Art, Soto’s work is rather characterized by the continuous study of movement and the dematerialization of the form, producing kinetic constructions where the active participation of the viewer is fundamental.

In 1958 he began Vibraciones, a series consisting of the overlap, in various levels, of grids and mobile objects that create infinite possibilities of vibrations and variations. Soto managed to create works accessible to all people, without marking the differences of age or cultural capital of the public, appealing to the very experience of the viewer in relation to the artistic object.