Modelo Collection
Marco Rountree Cruz, Maximiliano Rosiles, Nina Fiocco, Sofía Hinojosa, Javier M. Rodríguez, Mauricio Alejo, Josué Morales
On the occasion of the 9th edition of the Creative X awards, a contemporary art collection has been set up to celebrate from “Art” the will to create. The collection incorporates multidisciplinary artworks by Mexican artists, including ready-mades, installations, sculpture, video & photography. Through the exhibition, the viewer is invited to delve into a visual language that continues to command culture and relate with tangible objects that speak for “creation”. Each of the pieces dialogue with main tracks Strategy, Creativity, Good and Digital Integration. To begin, words written with black laquer over a Globe convey a strong message. The first one, visually presents an irony: a small piece of only 22 cm impacts the viewer with a huge question: and after ? Read more
The responsibility of finding solutions upon uncertainty challenges existence. A second piece reinforces the question. This time substituting the miniature with an evident, big, direct call to action. Through minimalism, both pieces revolve around the need to plan, inviting to take consciousness about the future. Finally, the double temporality plays a key role in the perception: while we are here, in the earth, we have also to be “there” in an immaterial sphere waiting for the future to arrive.
To continue, a ready-made by Marco Rountree Cruz shifts the function of the glass of beer as a container to a joyful cloud of a beloved object. With strong attention to the use of everyday materials such as glass and hooks, the pieces create an atmosphere of lightness and unevenness from the ceiling to the floor. The mobile embodies the space, inviting the viewer to walk around, look through the glass of the empty bottles and focus not on the liquid product, but on the beauty of the container itself. The labels, forms, glass colours, and measures of the different bottles pay tribute to the packaging..
The “idea” is at the heart of creation. However, the “form” is its possibility to exist in reality and be seen by others. There are multiple ways in which this translation occurs. “Chanclas” by Maximiliano Rosiles pays homage to the possibility of achieving a powerful idea with low budget, reminding that value is further beyond than the cost of each part.
Man is the measure of all things, said Protagoras. In “Uncertain unit of measurement”, Nina Fiocco uses the fourth hand as the ultimate measure. On the one hand, the piece is a self- portrait. Each one has its own. On the one hand, the piece plays with the concept of quantity.. The repetition of the image, is a wink to the idea of scale and the appearance of only one element reinforces the concept to think about something locally.
Can a fan play a symphony ? In “A pertinent melody for the final defeat”, by Mauricio Alejo, sound invades the entire exhibition space to create a feeling of anticipation in the viewer. The fan functions as a paradoxical object that interprets what we consider only relevant to the human spirit, which is interpreting music. The melody does not exist without it. The piece is also based on the old archetype of the wind, breathing and exhalation as the energy of creation. Thus, he tries to provoke a place where the still, the animate, and our humanity meet and, hopefully, build a bridge.
To bring out the best part of us. To think carefully about the earth we inhabit. To act responsibly.
The installation set up by Sofía Hinojosa draws attention to two elements through the use of Color. On the one side, with blue, the artist explores the symbolic meaning of water, the vital element of our lives. The research delves into different “Types of Water”: the one we drink, where we swim, the tears we cry, the rain. The installation made by Hinojosa with venetian mosaics, water keys, incorporates the words and the abstract forms to think about water poetically. On the other hand, the green wall confronts the idea of nature and natural things with that of plastic and fakeness. Is the paradise garden made out of plastic? -Asks the artist.
Finally, the exhibition plays an ode to the constant growth of the integration of the digital in our societies. For that purpose, two pieces by Javier M. Rodriguez.
This project is an investigation around the Moving Image and film language, most precisely on the Documentary form. For the past years M. Rodriguez has produced a series of video installations that bring video closer to the sculptural plane and are proposed as a “Minimal Documentary”. By means of translation and with video projections, everyday objects occupy the exhibition space and are granted with a voice that is light, time and memory. Asking us if it is possible to listen to the world, to objects, to things. This project is an investigation around the Moving Image and film language, most precisely on the Documentary form. For the past years M. Rodriguez has produced a series of video installations that bring video closer to the sculptural plane and are proposed as a “Minimal Documentary”. By means of translation and with video projections, everyday objects occupy the exhibition space and are granted with a voice that is light, time and memory. Asking us if it is possible to listen to the world, to objects, to things.
Josué Morales
¿Y luego qué?
2018.
Globe intervened with acrylic paint
41 x 33 x 34 cm.
$700 -2500 usd
Josué Morales
¿Y después?
2020.
Globe intervened with lacquer and acrylic paint.
22 x 15 x 15 cm
$700 -2500 usd
Marco Rountre Cruz
2023. Sin Título.
2023.
(Hooks and models) wire glass. Variable measures.
$6,500 usd
*This piece belongs to Modelo Art Collection
Maximiliano Rosiles
El Chancletazo
2020.
Sandals.
152 x 127 x 25 cm.
$2,500 usd
Nina Fiocco
Unidad de medida incierta
2023.
Variable measures.
Ed. 5 + PA.
$2,000 usd
Mauricio Alejo
Una melodía pertinente para la derrota final
2023
Installation, fan, plastic flutes, wood table. 100 x 40 x 65 cm.
$10,000 usd
Sofia Hinojosa
Sofia Hinojosa
Tipos de agua
2023.
Venetian mosaic.
Variable measures.
$2,500 usd
Sofia Hinojosa
Cuentagotas
2022.
Water keys, venetian mosaic, nylon thread, variable measurements
Variable measures.
$2,500 usd
Sofia Hinojosa
Jardin vertical (2)
¿El jardín del paraíso es de plástico?
$ 2,500 usd.
*This piece belongs to the Modelo Art Collection
Sofia Hinojosa
Jardín, jardín (Archivero 2)
2022.
File keeper intervened with plastic plants and acrylic paint on paper.
40 x 38 x 7 cm.
$1,500 usd
Sofia Hinojosa
Jardin vertical (2)
¿El jardín del paraíso es de plástico?
$ 2,500 usd.
*This piece belongs to the Modelo Art Collection
Sofia Hinojosa
Jardín, jardín (Archivero 2)
2022.
File keeper intervened with plastic plants and acrylic paint on paper.
40 x 38 x 7 cm.
$1,500 usd
Javier M. Rodríguez
Napoleón y Lincoln
2019. Full HD projection on metal door. Video; H.264, 1920 x 1080px.
5:49 min loop. / Metal door and enamel paint.
108.5 x 210 x 4 cm.
Ed. 1/2 + PA
$7,000 USD
Javier M. Rodríguez
Camarena 25
2019. Full HD videoinstallation on window. Video; H.264, 1920 x 1080px. 5:52 min loop.
Metal window, textured glass, enamel painting and Full HD display.
63.5 x 110.5 x 5 cm.
Ed. 1/2 + PA
Artists
Josué Morales
Mexico, 1987
Josué Morales Bernal has a degree in Plastic and Visual Arts and specialised in Museography.
He works mainly with the disciplines of sculpture, installation and photography. His artistic interests revolve around human vulnerability, nature, emotions, outside interests, and the political class. With the use of irony, Josué Morales’s pieces take reference from his life in a globalised reality, television culture, music, history and literature.
His first individual exhibition was “L.A.M.B. The adoration of the mystical sheep” in 2011 for Fotoseptembre at Casa Frissac. He has taken part in collective exhibitions such as Artificial Infernos 2015 at the Museo Universitario del Chopo. He was selected at “Salón ACME No. 5”. His work has been exhibited in Los Angeles in independent spaces. His second individual exhibition “We walk faster when we walk alone” in 2018 was presented at Carta Blanca, Espacio Independiente. “Hijo de la nada” his third solo exhibition in 2019 was presented at Casa X. His recent work has been presented by La Nao and Galería L.
Marco Rountre Cruz
Mexico, 1982
Visual artist, he defines his practice as the free experimentation of drawing on any material. Through drawing, collage, painting, sculpture, installation, video and interventions in the architectural space, Rountree explores the concept of ornament, particularly in the resignification of everyday objects through their manipulation and representation.
Marco Rountree has made several solo exhibitions in Mexico and abroad such as “HIPOCAMPO”, Museo Aniversario del Chopo, Mexico City, MX (2020), “Escuela de Ciencias y Artesanías del Volcán Xitle” Museo Anahuacalli, Mexico City, MX (2019), “Sin Título”, Museo de Arte Querétaro, Querétaro, MX (2010); group exhibitions: Museo Tamayo (2020), UDEM, Monterrey, MX (2018), PROXYCO, New York, US (2017), Museo de Arte Moderno, CDMX, MX (2012), 2nd Triennial Poligráfica, San Juan, PR (2009), Fundación Jumex, CDMX, MX (2012, 2009, 2008); permanent project: Culiacán Botanical Garden, Sinaloa, MX (since 2011) and he took part of the XIV Femsa Biennial, in Morelia, MX (2020).
Sofia Hinojosa
Mexico, 1992
She studied art at the National School of Painting, Sculpture and Engraving “La Esmeralda” Her work shifts between images and texts. She has exhibited individually in Mexico City at Salón Silicón and at Tabasco 258. Her work has also been part of collective exhibitions in Mexico City, Monterrey, Culiacán, Oaxaca, San Diego and Vienna. She was part of “Operación Hormiga” collective (2015-2019). During 2021 she made an intervention to the poetry website of Casa del Lago UNAM with her work “Fragile”. She has been granted with the FONCA Young Creators 2018-2019 program. Her work has been included in the Jumex Collection of Contemporary Art and the Family Servais Collection, among others.
Maximiliano Rosiles
Guanajuato, Mexico, 1992.
Maximiliano Rosiles is an interdisciplinary visual artist, born in Guanajuato, Mexico. At a young age his family suffered a separation which resulted in him crossing the U.S-Mexico border and migrating to Harlingen, Texas with his mother. He spent his formative years going back and forth constantly between the border towns of South Texas and Guanajuato, Mexico. His art practice is an attempt to reconnect to his Mexican heritage while considering the intricacies embedded in the cultural hybridity of his non-aligned identity. This syncretism lies in the middle of a liminal space immersed by a transcultural exchange between the U.S. and Mexico. He uses sculpture, installation, performance, and time-based works to record his cultural investigation and nurture a connection to his heritage that was disrupted through his migration experience while dissecting his identities in an attempt to undergo a process he likes to call “reverse assimilation”. This has manifested in cultural stories, personal accounts, and social commentary on issues that he has witnessed, experienced, or has come across through research. The stories and subjects that he captures are often those that are overlooked or undervalued, or those that are not talked about, therefore living in the peripherals of society. He reaches for narratives that are in the collective unconscious of the Mexican-American experience. Themes often found in his work include immigration, acculturation, displacement, Nepantla, violence, family, religion, and cultural tradition.
Mauricio Alejo
Mexico, 1969
Anchored in the real world, his images, videos and installations explore the evanescent constitution of reality and its exchanges with the notion of the world as image. His practice takes primordial physical forces such as gravity and light as raw material to consider the illusory nature of the image based on the phenomenal experience and point to the participation that objects have as agents in the construction of the real. Alejo has had several individual exhibitions in New York, Japan, Madrid, Paris and Mexico. His most recent individual exhibition took place at the Image Center in CDMX and summarises the aesthetic exploration that he has developed during the last decade of his production. His work has also been featured at venues such as CCA Wattis Institute of Contemporary Art, San Francisco; Art Museum of the Americas, Washington; National Center for Contemporary Art, Ekaterinburg, Russia; 8 Havana Biennial and Reina Sofía Art Center Museum, Madrid.
Nina Fiocco
Feltre, Italia, 1992.
Artist, curator and cultural manager: these different roles allow Fiocco to give rise to collective projects and artistic practices. Her work adopts fieldwork and collaboration as the base of a practice often linked to history, microhistory, and alternative economies through the use of images, texts, and readings. At the crossroads of narrative, essay and poetry, she has written for magazines, exhibitions, her performances and those of other artists, as well as for artist catalogues. Since 2019, she co-directs with Oscar Formacio the independent space ERROR in Puebla and CDMX. Together with Ana Gallardo, she coordinates the IMÁN educational program. Since 2016, she has collaborated steadily with the Amparo Museum, urating several public contemporary art programs. In 2022 she curated ” Error” Cauces. A curatorship in motion” (sponsored by PAC and Fundación Jumex), the residency cycle “Lingue sorelle” a collaboration between Error and IIC Messico, and the collective exhibition “Working Tongues” for 12-14 in Vienna (AU). She is currently a professor of the Bachelor of Contemporary Art at the Universidad Ibero (MX). Her work has been exhibited in museums, festivals and galleries in different countries.
Javier M. Rodriguez
Guadalajara, Mexico, 1980.
To consider the image-movement as a language on the one side, and the cinematographic as a way of thinking has allowed Javier M. Rodriguez to develop a body of work under the concept of expanded cinema. Rodríguez materialises through translations the cinematographic narrative in sculpture, painting or video installation. His work can be understood as a series of formal studies to rethink the order of time.
Rodríguez focuses on the spatiality and three-dimensionality of the screen, abandoning fiction and avoiding linear narratives while working outside the video room. In this scenario, the cinematographic is anchored to matter and his video installations point to reality through site-specific objects and structures waiting to be activated by the body and movement of the spectators.
His solo shows include: Darkness at Noon, Proxyco Gallery, NY (2019); INT. SHOWCASE – DAY, Arredondo/Arozarena, Mexico city (2018); Wide (characters leave the scene), Casa Taller José Clemente Orozco, Guadalajara (2016); The stubbornness of things, El Eco Experimental Museum, Mexico City (2015); Nothing more than hours, Zapopan Art Museum (2013); [AUGUST, 10.2013 – OCTOBER, 04.2013], Curro Gallery (2013).
On two occasions he has been awarded the FONCA – Young Creators scholarship in 2009 and 2012. At the moment he is member of the National System of Creators FONCA.
