PEANA gladly presents "Para Morelio", a collective exhibition parting of a re-reading of Julio Galán's artwork and neomexican painting history.
The artworks comunicate as a whole, articulating and exchanging expresions of desire, humor, play and affection built from the self-representation of non conforming sex and gender . "Para Morelio" opens observation lines to the past and present of mexican artistic production, overlapping timelines and making space for an intergenerational dialogue wich gives the opportunity to understand the "queer" not as a monolitic experience, but as a state where race, gender, and class cross through non hegemonic identities.
Bárbara Sánchez-Kane shows a real interest in attire as a performative artefact and of the home as place where are revealed caring and submissive relationships. Through her dresses, suits, sculptures and paintings, Sánchez-Kane erases the societal paradigms which define who can wear what, how and with what purpose, building and destroying the binary gender normativity. She revises history of fashion and industrial design, putting them under a lense which can either increase its femenine or masculine connotations and subsequently erase them,mix them up or even only underline them.
Para Morelio reunites six artists under the historical revision of one of them, but it's conceived as a dialogue without hierarchies with the purpose to deepen in diverse tensions around gender in Mexico. It highlights that there is not only one way to conceive the construccion dissent identities and sexualities, and furthermore that these ones are shaped in set with race, class, desire, home, objects, popular cultures and nationality
Collapsed Rooms, 2021
UV Flatbed print and acrylic on rawhide
106 x 105 x 4 cm
Cadáveres amorosos, 2021
Rawhide, foam, metal
33 9/10 × 20 1/2 × 24 2/5 in
86 × 52 × 62 cm