ASMA Selected Projects - PEANA
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ASMA Selected Projects
LIVES AND WORKS Mexico City, MX EDUCATION 2018 School of the Art Institute of Chicago (SAIC) MFA, Chicago, US 2016 Facultad de Artes y Diseño (FAD - UNAM), Licenciatura, CDMX, MX 2015 Emily Carr University of Art and Design, BFA, Vancouver, CA SOLO EXHIBITIONS 2021 The harpist in the ogres mind, OCMA Museum; California, US 2021 Duo show with Sophronia Cook, Et.Al. Gallery; San Francisco, US 2021 Projet Pangee; Montreal, CA 2021 80m2LiviaBenavides; Lima, PE 2020 Janus, Embajada; San Juan, PR 2019 Half Blood Princess, PEANA; Monterrey, MX. 2019 Blossoming Carcass, Make Room Gallery; Los Angeles, US 2019 La Mariposa en el Lodo, Zona MACO, Proyecto NASA(L); Mexico City, MX 2018 Fantasma, CHACO Art Fair, Proyecto NASA(L); Santiago, CL 2018 Visitante, Arte Passagem; São Paulo, BR SELECTED GROUP EXHIBITIONS 2020 OTRXS MUNDXS, Museo Tamayo, Mexico City, MX 2020 La memoria que no recordamos, PEANA & LABOR, Monterrey, MX 2020 Documento, Embajada; San Juan, PR 2020 We introduce ourselves to planets and to flowers, Kylin Gallery; Los Angeles, US 2020 You sit in a Garden, Centre Clark; Montreal, CA 2020 Anima Mundi, St Victor Abbey, Manifesta Biennial; Marseille, FR 2020 Blasted Heath, A.M. 180 Gallery; Prague, CZ 2020 ARCO Art Fair, Embajada; Madrid, SP 2020 Zona MACO, Proyecto NASA(L); Mexico City, MX 2020 Material Art Fair, PEANA; México City, MX 2020 Baitball 01, Like a little disaster / Pane Projects; Polignano a Mare, IT 2019 Futuro Modular, Rachel Uffner Gallery; New York, US 2019 Sanctuary, Jessica Silverman Gallery- Fused Space; San Francisco, US 2019 Second Life, Casa Mobius hosted by PEANA, Condo MX; México City, MX 2019 Cold Prey, Lubov Gallery; New York, US 2019 XYXX010101000, Galería Curro; Guadalajara, MX 2019 Pach Pan, Diablo Rosso; Panamá, PA 2019 Sinergia, Espacio Cultural Plaza de la Fuente; Guayaquil, EC 2019 ArteBA, Proyecto NASA(L); Buenos Aires, AR 2019 Art Lima Gallery Weekend, Proyecto NASA(L); Lima, PE
2019 The Blossom, Material Art Fair, Sketch Bogotá; Mexico City, MX 2018 Leilão Anual 2018, Pivô; São Paulo, BR 2018 El derecho a la opacidad,Aguirree; Mexico City, MX 2018 The Annual, Chicago Artist Coalition (CAC); Chicago, US 2018 Proyecto Nasa(l), XIV Bienal de Cuenca; Cuenca, EC 2018 The Belly and the Members, Mx Gallery; New York, US 2018 12 Ateliê Aberto, Pivô; São Paulo,BR 2018 SAIC MFA Show, Sullivan Galleries - SAIC; Chicago, US AWARDS, SCHOLARSHIPS, RESIDENCIES 2018 Premio Colección Casa, Mejor booth sección emergente, Santiago, Chile. 2018 Premio Brasil, Residency at Pivô, São Paulo, Brasil 2016 The New Artist Scholarship Award, SAIC, US. 2013 LindArt Artist Residency, Lendava, SL. 2010 The Christopher Foundation Scholarship, Vancouver, CA. 2009 Entrance Scholarship, Emily Carr University of Art and Design, Vancouver, CA ABOUT ASMA is an artist duo based in Mexico City, formed by Matias Armendaris (Ecuador b. 1990) and Hanya Beliá (México b. 1994). The duo focuses on developing work produced exclusively through active collaboration. Their work uses open narratives and architectural spaces exploring formal interrelations between painterly and sculptural expressions. In their collaborative process they explore the act of interaction and how things in contact start affecting each other. In this interrelation, things start erasing their boundaries and begin to fuse, they play with the potential of this process of transformation, both formally and conceptually.
Selected Projects
Anima Mundi
St Victor Abbey, Manifesta Biennial; Marseille, FR, 2020
JANUS
Embajada Galería, San Juan, PR, 2020
Half Blood Princess
PEANA, Monterrey, MX, 2019
Blossoming Carcass
Make Room Gallery, Los Angeles, US, 2019
Fantasma
Proyecto Nasa(L), Santiago, CL, 2018
Intersect Habitat
Sullivan Galleries - SAIC, Chicago, US, 2018
Anima Mundi
St Victor Abbey, Manifesta 13 Biennial; Marseille, FR, 2020
The exhibition Anima Mundi gathers several international artists
in the ancient crypts of the Abbey of Saint-Victor, one of the oldest
monuments in the Provence region. The works on display, mainly
sculptures, communicate with the paleochristian sarcophagi
in the crypts and propose a reflection on death, spirituality and
the relation to History. The works, mixing art and craft, resonate
and connect to the place through their vernacular and spiritual
anchoring. The artists invited by Emmanuelle Luciani and Southway
Studio combine past and present to offer artistic and aesthetic
alternatives to contemporary matters with inspiration from the
heritage impulse that arose from the Revolution, or like the Nabis
and Pre-Raphaelites who reclaim the past to propose new artistic
forms where spirituality is brought together with arts and modernity.
Left: Vampiro, 2020 Pigmented micro-paraffin wax relief, mosquitoes, oil paint, metal cast with silver bath 41 x 36 x 8 cm Right: Veneno, 2020 Pigmented micro-paraffin wax relief, apple seeds, oil paint, metal cast with silver bath 25 x 43 x 15 cm
JANUS
Embajada Galería, San Juan, PR, 2020
space is also an absent place of purity that mixes the natural with the
The exhibition presents a sculptural installation along with a series mechanical, the past with the future, the imaginary with the real, good
of paintings and high-reliefs that construct a psycho-fantastic world and evil, the living with the inert, the human with the animal, the soft and
where architectural elements are transformed into something living the rigid.
and organic. The construction of this internal space seeks to expand
the traditional binary notion of the mythological symbol of Janus by Janus, like a mirror, connects two adjacent worlds. The mirror as a
extending its possibilities of containing diametrically opposed states. metaphor in space activates this connection between two parallel
The exhibition makes use of contrasting materials that integrate an places, expanding architecture and altering the way objects are
organic and corporeal viscerality juxtaposed against metallic and perceived. This thin and transparent membrane becomes the central
reflective rigidity with clinical and futuristic qualities; a semi-apocalyptic locus, which weaves everything around it. The mirror also mimics that
environment that is simultaneously alive and fertile. quality, becoming a space in itself.
In classical mythology, there are several figures that either fuse or “Its form doesn’t matter: no form manages to circumscribe and alter it.
contrast two opposing elements. One such figure is from the Roman Mirror is light. A tiny piece of mirror is always the whole mirror. Remove
tradition —the image of the deity Janus, commonly represented by its frame or the lines of its edges, and it grows like spilling water.”
a bust with two faces positioned in opposite directions. This image
metaphorically contains many meanings, such as those echoing a — Clarice Lispector
process of transition and renewal, thus providing the etymological origin
for the month of January, to mark the beginning of the year, and the exit
from the previous one. The image has also been employed on doors,
functioning as a transitional point between one place and another, an
entrance and an exit simultaneously.
’Janus’ traditional function —in addition to personifying union— is
actually to demarcate a transition, the transition from one state to
another, which also reaffirms the separation of states of difference. The
image works primarily to define a division between two opposites. In
the exhibition, this transitory portal symbolized by Janus expands and
becomes a third habitable space, a space/state which, in itself, does
not require the viewer to move toward a pure definition, but is internally
contaminated by everything that integrates it. Janus, then, as a livingJanus , 2020 Steel wool, metal frame, magnets 224.8 x 246.4 cm
Doppelganger, 2020 Iron chain, white micro-paraffin, silver plated metal alloy casting 282 x 27.9 cm
Fierce look, 2020 Agua dura, 2020 MDF, Forton MG, hydrostone, fiberglass, dry pastels, silver-plated MDF, Forton MG, hydrostone, fiberglass, dry pastels, silver-plated metal castings metal castings 40 x 50 cm 40 x 50 cm
Half Blood Princess
PEANA, Monterrey, MX, 2019
The exhibition echoes a mythological open narrative of an encounter at
the shore of a lagoon. Some fragments of this narrative suggest a hybrid
being, a recognition of otherness and an embrace of different bodies: two
facing characters that become everything and change over and over into
the landscape. This speculative fiction takes place in a possible ancient
past or a far away future where technologies have become organic.
Half Blood Princess features a series of sculptures, paintings, and
installation elements that sets the stage at a place in between exterior
and interior. Through the use of two large lattice that dictate the flow
of entry to the show and the pace of the story, the context of the
experience becomes about looking and being seen. The exhibition is
comprised mainly of works that live between painting and sculpture,
putting in evidence its formal propensity for fading limits and merging
opposites. This new body of work constitutes a closer approach
to figuration in direct contrast with mechanical line abstractions.
As part of their collaborative practice which enables the
coexistence of differences and the process of interrelation, the
works go through a series of material processes of alteration and
modification that resist the casting processes and puts into play
interrelations of materials. As a metaphorical figurative element,
the liquid in the lagoon repeats through the exhibition suggesting
a moment of submersion, and a possible process of becoming.
Half Blood Princess, 2019
White paraffin wax, encaustic paint
53 x 40 x 5 cmPienso en el animal que soy, soy el animal que soy, muero como un robot, 2019 Oil, copper wire and tin on copper plate 48 x 38 cm
’Celosía’ En un jardín salvaje, hay gente entera, 2019 I’m a beast of shapeless form, 2019 MDF, wood, cement, polymer resins, water-repellent material and fibreglass White paraffin wax, encaustic paint, MDF 183 x 207 x 10 cm 37 x 27 x 4 cm
Blossoming Carcass
Make Room Gallery, Los Angeles, US, 2019
Blossoming Carcass features a series of sculptures, paintings, and
installations in the metaphor of an exoskeleton. Echoing a fantastical
language, this process of molting as a poetic transformation speaks to
the human experiences of letting go, mourning, and reviving: a process
similar to that of the insect leaving its pupal body to grow larger.
In this new body of works, an imaginary space connects a series of
compelling personal narratives of death and love. Both the imaginary
and the real elements merge in material and figurative manners,
transforming them into a third space—a poem about a blossoming
carcass as a continuation of life after death. In this abandoned place,
growth continues, and the vestiges of a previous natural life mutate into
new forms.
Blossoming Carcass narrates the story of a living skeleton-keeper
and her relationship with the creatures in her care. Fragments of this
narrative are combined with a material interplay that oscillates between
sculptural and painted qualities. In this conjunction, the exoskeleton is
an exchange between the structure and the surface, a coexistence
of two states. A delicate feeling of otherness comes from within,
evoking a familiar sensation linked with the similar human capacity for
transformation. The process of molting is taking place slowly, and its
remnants occupy the space in an apparent stillness.
Floating in the Swamp, 2019
Acrylic, colored pencils, dry pastels on brass with steel frame
33.7 x 23.5 cmTime Catcher, 2019 bronze cast, resin, tea leaves, metallic chain, sand 52.1 x 22.9 cm
The Hand Feeding the Snake, 2019 Felted steel wool, steel frame, chain 74.9 x 58.4 cm
Fantasma
Proyecto Nasa(L),Santiago, CL, 2018
´fantasma´ is a series of objects that evoke a living entity that exists
between a domestic space and the being that inhabits it. It seeks
to charge these objects with an invisible presence that contains
a process of constant exchange (inter-cambio) between a person
and the environment. It is also an exploration of the daily interaction
between the real and the imaginary; how these two universes influence
each other and are interwoven in the collective experience.
Influenced by magic realism and the psychological literature of Clarice
Lispector, the work seeks to capture the experience of living in an
old apartment in downtown Sao Paulo for two months, as well as the
indescriptible strangeness of living in a familiar and yet unknown
space. Parting from personal experiences, the work generates a bridge
towards a common affective space, which speaks of the life of objects
and spaces, and of how this invisible life is created through presence.
The word fantasma (ghost) shares its root with the word fantasía, from
the Greek verb phanein (shine, appear, become visible) and the suffix ma
(result of action), so fantasma originally means “what becomes visible”
. Fantasy therefore is what is built from the psyche of experience, is the
bridge between the internal and external universe of each person.
This series of objects formally contain echoes of a home: furniture,
curtains, windows, walls, etc, but in addition they are loaded with invisible
elements, particular affections that change them metaphysically. The
raw clay humidified with eye drops, aluminum taken from the wrapping
of some flu tablets, objects / amulets hidden in the curtain folds, are just
some of the ways in which invisible gestures transform the essence
of these familiar objects. As with painting, where there is an aura that
inhabits an image that changes it with something that transcends its
image; these objects seek to contain something that is not evident but
posses the object and transforms it silently.Creature or Furniture (Curtain), 2018 Chrysalis, 2018 Carving in red cedar wood, aluminum pads of dextromethorphan Ultra clear glass and frosted bronze glass, hydrobromide inserted and polished, forged nails in silver, Cedar structure carved by hand watercolor on paper and glass 35 x 42 x 4 cm 43 × 29 × 3 cm
Clairvoyant (Landscape, Body, Curtain), 2018 Graphite drawing and oil painting on raw mud moistened with drops of ocular antiseptic, plexiglass box 37 x 29 x 10 cm
Intersect Habitat
Sullivan Galleries - SAIC, Chicago, US, 2018
Intersect Habitat is an installation featuring three surfaces as points
of contact. These supports build an environment of interconnection
between a variety of discrete objects that compose a poem which
opens an alter space. This space of conjunction is at the same time a
body with organic systems of interconnection. This habitat brings us
to a place of subtle discovery, of attention and presence, both in the
physical and the imaginary.
There was a garden,
it was infused with scents almost imperceptible.
You knew there were spores floating all around us.
We were together but I could only see myself,
a bare skin exposed in the ground
covered in mosquito bites,
buzzing sounds come and go around our ears,
it won’t let us fall asleep,
There was glowing lights and growing beings,
we had to walk around the garden to find our place,
everything was blooming and decomposing.
It was see through, it was colorful and dull.Right: Fly Embrace, 2018 Carved wooden stick, epoxy resin, two dead flies
Liquid spore, 2018 Wooden panel, oil paint with glazing technique, epoxy resin, steel rod
Witness (petals), 2018 Soft fround etching on tarnished and polished cooper, routed MDF board, paint
Via Clodia 169, SPGG, 66220, Mexico | peanaprojects.com | +52 (81) 2315 0150
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