8/19/2023 0 Comments Freefall 2017Camaleón’s narration is intense and well-edited, revealing a violent background as well as his aspirations as a falconer. The video also reveals Calderón’s eye for a story. The openness of the shots following the bird, its soaring flight a perfect illustration of freedom and wildness, the claustrophobia of Camaleón’s dwelling, for instance, or the surprising cuteness of a child’s stickers on his headboard. Nearly half an hour long, the piece powerfully juxtaposes inside and outside sequences that contrast the disjointed, violent nature of such places as a roadhouse on the periphery of Mexico City, against the beauty and openness of dawn in the countryside on the city’s outskirts and the peregrine falcon in flight. The central piece was a large installation, Caída libre, 2017, which included a video, Camaleón (Chameleon), 2016, following a day in the life of Camaleón, a real-life falconer and nightclub bouncer. Now a more meditative aspect came to the fore. There was no whiff here of the scandal or provocation that had previously earned Calderón a reputation as an enfant terrible. Not only did exhibition confirm Calderón’s presence in the Mexican art scene, it revealed how his work has matured while retaining its essential rawness. His feature film, Zeus (2016), debuted at the Morelia Film Festival last year and touches on subject matter similar to that evoked by this exhibition, “ Caída libre” (Free Fall), hosted by kurimanzutto off-site at a grimy warehouse space that Calderón once used as a studio. Some people thought he had dropped out of the art world and was focusing on music, films, or something else. Miguel Calderón’s first solo show in Mexico in eight years was met with both rumor and expectation. Miguel Calderón, Caída libre (Free Fall), 2017, falconry perches and the video Camaleón (Chameleon), 2016 (color, sound, 26 minutes 30 seconds), dimensions variable.
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