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DEL 2 al 6 DICIEMBRE 2020


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MAIA Contemporary presents 2 artists: Salvadorian Simón Vega and Greek artist based in Mexico Theo Michael. Both coming from very different backgrounds and cultures but connected with playful approaches to create artwork from a speculative fiction mindset.

Theo Michael presents his latest series of drawings, sculptures, and mosaics. Mosaics echo excavated antiquities and are made of painted cardboard tiles. They display images inspired by microbial ecosystems while evoking ancient Greece, post-war abstraction, and graphic art in terms of physicality. The sculptures evoke excavation site where objects and debris of divergent provenance are presented as equivalent. The works constitute a departure in terms of medium and style for Michael. However, his practice's underlying themes are surely there: Irreverence for cultural hierarchies and the urge to make overlooked characters the show's protagonists.





Simón Vega presents a series of works part of his larger series Tropical Space Proyectos in which he comments on the effects of the Cold War in contemporary Central America through drawings, installations, and sculptures based on the capsules and space modules built by both the Soviet Union and the United States during the so-called "Space Race" The sophisticated spacecraft are reconstructed using found and repurposed materials, popular domestic objects and live plants that recall informal architecture and street vendor carts commonly found throughout El Salvador and Central America.

These two artists create their own symbolic cosmogony by constructing fictional settings that challenge the actual civilization paradigms. Visualizing different possible scenarios for humanity and reconsidering human being´s true importance on a big scale, Theo Michael and Simon Vega's work become quite relevant in these uncertain times.


Colima 159, Mexico City


Espacio Habitable 

At the snap of fingers in the distance, the curtain falls, and the depth was nothing more than a staging. The theater of the multiplicity of feelings, the incompleteness of memory, and what we know as intangible. Here, the optical illusion is as firm as the ground under your feet and gravity on your shoulders. There is nothing that has no place in the space that affirms itself as its own.


In this new series, Hilda Palafox has built the harmony of the impossible. With thick oil paintings, she offers us chaotic compositions subtly personifying fullness.


 These massive bodies paused, but not trapped, calmly await the laws of physics. We read femininity as continuous growth behind anonymous faces, sensuality, and contrast between colors that stun and attack. Geometric shapes caressing the non-existent limits between them, rushing towards the abstraction of an almost possible place to exist. Habitable Spaces, continually collapsing and creating without emitting a single movement, leaving as a trace the uncertainty of the possible against the imagined, breaking the barriers of a body that has mutated to take over even what does not exist next to it.


Ivonne Alcántara Sánchez


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Al chasquido de unos dedos a lo lejos, la cortina cae y la profundidad no era más que una puesta en escena. El teatro de la multiplicidad de los sentimientos, lo inconcluso del recuerdo y lo que conocemos como intangible. Aquí, la ilusión óptica es tan firme como el piso bajo sus pies y la gravedad sobre sus hombros. No hay nada que no tenga cabida en el espacio que se afirma como propio.


En este conjunto de piezas Hilda Palafox ha construido la armonía de lo imposible. Con gruesas plastas de óleos nos ofrece composiciones caóticas sutilmente personificando la plenitud. Estos cuerpos masivos, puestos en pausa, más no atrapados, esperan con calma a las leyes de la física. Detrás de rostros anónimos leemos la feminidad como continuo crecimiento, la sensualidad como contraste entre colores que aturden y atacan. 


Formas geométricas acariciando los límites inexistentes entre ellas, precipitándose a la abstracción de un lugar casi posible de existir. Espacios Habitables, continuamente derrumbándose y creándose sin emitir un solo movimiento; dejando como rastro la incertidumbre de lo posible contra lo imaginado, rompiendo las barreras de un cuerpo que ha mutado para apoderarse hasta de lo que no existe junto a él. (texto Ivonne Alcántara Sánchez)


Hilda Palafox se graduó de la Escuela de Diseño del Instituto Nacional de Bellas Artes (EDINBA) especializándose en Diseño Editorial. Desde 2011 comenzó su carrera como artista produciendo obras en formatos diversos. Ilustración, cerámica, pintura, hasta murales monumentales en ciudades de México, Estados Unidos, Canadá, Japón, Brasil.


Su carrera fue ganando reconocimiento fuera de su país de origen participando en exposiciones en Nueva York, San Francisco, Miami, Italia, Francia y Australia. Hilda presentó su primera exposición individual en Japón después de una residencia artística en AIR Onomichi en el 2018. Seguida de exposiciones individuales en Los Ángeles, USA y Melbourne, Australia.


La obra de Hilda Palafox se inspira en el cuerpo como elemento central. Sus imágenes presentan una mirada fresca a la representación tradicional del cuerpo femenino en el arte occidental. Las formas, colores y texturas parecen imaginar mujeres Latinoamericanas; colores radiantes, siluetas robustas, pieles morenas, cuerpos monumentales cuyos bordes se entremezclan con los espacios que las contienen. Su obra se inspira en el misterio de lo femenino, en el simbolismo de su estado físico, emocional y espiritual; explorando el cuerpo visible como materia informe dispuesta a moldearse a sí misma. Sus imágenes indagan sobre la autonomía de la figura, la independencia de la composición, la libertad del color.

Hilda Palafox (Mexico City, 1982) attended the School of Design of the National Institute of Fine Arts (EDINBA) and majored in Editorial Design. Since 2011 she began her career as an artist producing works in different media. From illustration, ceramics, painting to monumental murals in Mexico, the United States, Canada, Japan, and Brazil.


Her career has been gaining momentum outside of his home country, participating in exhibitions in New York, San Francisco, Miami, Italy, France, and Australia.


Hilda presented her first solo exhibition in Japan after an artist residency at AIR Onomichi in 2018. Followed by solo exhibitions in Los Angeles, USA, and Melbourne, Australia.


The female body inspires Hilda Palafox's work as the central element. Her images present a fresh look at the traditional representation of the female body in Western art. The shapes, colors, and textures seem to embody Latin American women, radiant colors, robust silhouettes, dark skin, and monumental bodies whose edges intermingle with the spaces containing them. Her work is inspired by the mystery of the feminine, in the meaning of its physical, emotional, and spiritual state. An exploration of the visible body as shapeless matter willing to mold itself. Her images investigate the autonomy of the figure, the independence of composition, and freedom of color.

upcoming Tatiana Camacho



Beauty, Biology & Belief 

The idea of ​​Nature as a maternal entity that keeps us within her bed is a collective image built since the beginning of humanity.


From this premise, Tatiana Camacho positions herself as an observer, inhabitant, and descendant. His images are presented as fragments of a kaleidoscope through which the viewer looks out to collect moments suspended in space, moments of revelation in deep communion with Nature.


The humidity, the vegetation, the sound of insects, the light that filters through underground waters become instantaneous epiphanies where the terrestrial body embraces the human body.


The essential femininity in this series of images is presented beyond representing the body and the landscape. It is discovered as an idyllic place, the place to which we yearn to return. The same one that reminds us of what we are made of.


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“We need the tonic of wildness...At the same time that we are earnest to explore and learn all things, we require that all things be mysterious and unexplorable, that land and sea be indefinitely wild, unsurveyed and unfathomed by us because unfathomable. We can never have enough of nature.” ― Henry David Thoreau

La idea de la Naturaleza como un ente maternal que nos mantiene dentro de su lecho es una imagen colectiva construida desde el inicio de la humanidad.


A partir de esta premisa Tatiana Camacho se posiciona como observadora, habitante y descendiente. Sus imágenes se presentan como fragmentos de un caleidoscopio por el que el expectador se asoma para recoger instantes suspendidos en el espacio, momentos de revelación en profunda comunión con la Naturaleza.


La humedad, la vegetación, el sonido de los insectos, la luz que se filtra por aguas subterráneas se convierten en epifanías instantáneas en donde el cuerpo humano es abrazado por el cuerpo terrestre.


La feminidad escencial en esta serie de imágenes se presenta más allá de la representación del cuerpo y el paisaje y se descubre como un lugar idílico, el lugar al que anhelamos regresar. El mismo que nos recuerda de lo que estamos hechos.


Tatiana Camacho es una artista que utiliza el medio fotográfico para capturar imágenes de desnudo y su relación con la Naturaleza. La desnudez en la historia del Arte ha reflejado los estándares sociales para la estética y moralidad. La invitación de Camacho propone dejar de objetivizar el cuerpo femenino alejándose

de la búsqueda de perfección influenciada por la pintura clásica, explorando el cuerpo desnudo desde una perspectiva naturalista.


Para acceder a algunos de estos momentos más sutiles, Camacho realiza un

proceso en el que ella se desnuda para fotografiar a sus modelos. Esta desnudez compartida entre el fotógrafo y el sujeto(s) activa una atmósfera fértil de empatía y conexión. El sujeto deja de ser objeto.


Las imágenes de Tatiana Camacho seducen en profundas exploraciones sobre lo femenino. Camacho dejó el Fashion Institute of Technology de Nueva York, en conflicto por las formas en que las mujeres son generalmente representadas en la moda. En su obra trata de captar las muchas formas de lo femenino a través del cuerpo con el objetivo de agregar más capas a una conversación monótona entre el mundo del Arte y la Moda. En sus series la artista expresa la necesidad de estar en contacto con el poder de lo femenino y la Naturaleza.



Tatiana Camacho (Bogotá, 1987) is an artist who uses the photographic medium to capture nude images and their relationship with Nature. The artistic nude in the Art history has reflected the social standards for aesthetics and morality of the period it was produced. Camacho's proposes to stop objectifying the female body by moving away from the search for perfection influenced by classical painting, her work explores the naked body from a more naturalistic perspective.


To access some of these more subtle moments, Camacho performs a process in which she gets naked too, creating moments of complicity and intimacy. This nakedness shared between the photographer and the subject (s) activates a fertile atmosphere of empathy and connection. The subject is no longer an object.

Tatiana Camacho's images seduce in deep explorations about the feminine. Camacho left the Fashion Institute of Technology in New York, in conflict over the ways in which women were represented in fashion. As a photographer, she has tried to capture the many ways in which the feminine speaks to add more layers to a monotonous conversation in Art and Fashion.


In her latest series, the artist expresses the need to be in touch with the power of the feminine and Nature.

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