Driving from Tijuana to Ensenada, I noticed this sign: Storage rooms for rent cheap. On Blvd. Popotla, between two furniture stores and just a few meters from Baja California, I suddenly found the birth of an idea I didn’t know I had. I drove a few more kilometers and in my head brooded this idea. You’ve got to see this camp. I turned around and drove back. Franco, the friendly man from Casa Cova Muebles, helped me: „The door is open. Just look around. Everything else you can negotiate with me then“. I entered. The rooms, decorated in red with the somewhat uncool tiles and red ceiling, were a wonderful sight. Even with the junk in it. And at that moment I knew: I’m going to be a gallery owner. This is going to be a gallery. The area here is not for hipsters, and that’s what I enjoy. Right away with the first pictures of a couple of buddies and this contact from Germany with the two guys Ariche told me about the other day, who developed a magazine as an art form, as an exhibition object. That’s where I started. That was the birth of Tijuana Gallery. Welcome!
Alejandro Luis Bosque
Architectural brutalism mutates into organic plant life in Alejandro Luis Bosque’s work. His artistic position is that of a biologist who formulates nomenclatures for the essence of the built environment, identifying species, subspecies and groups. In his way of working he translates the geometries of the buildings back into leaf veins, regularities and Fibonacci sequences of the plant world.
On the sidelines of the 59th International Art Exhibition, „La Biennale di Venezia“ Ximena Baldez from Tijuana Gallery met Huck Haas and Peter Breuer from the artist group Future3000.art. We chatted about their project to make a magazine with AI-generated images, but each being an art object. Gallery instead of kiosk. Artistic freedom, according to their credo, is the ability to decide on the shape, size and even the place of materialization of digital works. „We are virtually international. So why not Mexico!“
Margarita is one of the last students of the Hernández class at the Escuela Nacional de Pintura and transports traditional magical realism into the present. Her non-fixed pastels on large-format plasterboard are not nostalgic throwbacks, but the painting material itself a subject of her work. The transience of her strokes is planned, the sgraffitos cite the rapid change of Mexico City.
Faustina Esqueda Ayala
Current images of women and women’s roles are questioned on Faustina Esqueda Ayala’s canvases. She mixes the vocabulary of classical portraiture with political statements by well-known women’s rights activists and condenses into the faces the life stories of women she sketched in the cafés of Culiacán. Each sketchpad became a diary – each canvas shows archetypal biographies of fictitious people.
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