Momus // Misogyny and the Myth of the ’90s at Mexico City’s Kurimanzutto
Kurimanzutto is a pristine, vaulted gallery in the San Miguel de Chapultepec neighborhood of Mexico City. As part of the recent exhibition XYLAÑYNU. Taller de los Viernes, cumbia music drifts over the guard onto the sidewalk, casting a nostalgic spell on the airy space.
The tropical rhythms flow from the radio of a parked car in the entranceway, its windows rolled down. The 2002 Skoda Octavia station wagon has been hand-painted Kelly green and bubble-gum pink, and has chicken bones dangling from an extended front windshield wiper. A gnarled two-by-four is strapped to the roof of the car and a baby’s car seat is buckled into the back. The whole assemblage, titled Autoconfusión (2015), is a piece by Abraham Cruzvillegas. Just beyond, in the gallery’s vine-draped atrium, lounge four Gabriel Kuri sculptures from his series this, please (2010). The vaguely corporate-looking slouched circles are finished with stubbed-out cigarettes wedged into their perforations and creases.
Image credit: Installation view XYLAÑYNU. Taller de los Viernes. Courtesy kurimanzutto, Mexico City. Photo: Omar Luis Olguin.
