Uncovering the Sexuality and Solitude of a Modern Mexican Icon

Frieze // Evan Moffitt


ARTFORUM // Gaby Cepeda

Fraccionar, an idiosyncratic show in Mexico City, makes a match with the sublime Casa Luis Barragán

The Art Newspaper // Linda Yablonsky

Pervirtiendo el legado de Barragán

La Tempestad

Looking Back 2018: a Year of Remembrance and Political Unrest in Mexico

FRIEZE // Ruby Brunton

T Suggests

T The New York Times Style Magazine // SU WU

Danh Vō en Casa Luis Barragán

Revista Código

Danh Vo “Garden with Pigeons in Flight” at Casa Luis Barragán, Mexico City

Mousse Magazine // Francesco Scasciamacchia

Espacio, proporción y antropometría: Franz Erhard Walther

Arquine // Emiliano Sánchez Contreras y Daniela Jay

Künstler Franz Erhard Walther “Beispiel für die schöpferischen Möglichkeiten des Menschen”

Monopol Magazin // Frank Steinhofer

Franz Erhard Walther at Museo Jumex and Casa Luis Barragán, Mexico City

Mousse Magazine // Agnieszka Gratza

Quietud en movimiento. Parameters de Bruce Nauman

Revista Código // Javier Villaseñor V.

Bruce Nauman en México

La Tempestad

La otra cara de Juan José Gurrola

Noticias 22 // Salvador Perches

Una obra abierta a diversas lecturas

La Tempestad

Poesía de Monoblock en La Casa Luis Barragán

Excélsior // SONIA ÁVILA

Teatro en la Casa Luis Barragán

L'OFFICIEL ART // Felipe Pando



Mármol Rosa: la vida secreta de las cosas de Casa Barragán


Mármol rosa, la exposición que hospeda la Casa Barragán


Mármol rosa en la Casa Luis Barragán

Revista Código // Herson Barona

A Dada Exhibition Fetishizes the Movement’s Ephemera

Hyperallergic // Devon Van Houten Maldonado

DADA Zúrich: una forma de arte sin obra

Gatopardo // Samantta Hernández Escobar

Marius de Zayas, el enigma plástico

Gatopardo // Roberto García Hernández

Marius de Zayas at Casa Luis Barragán, Mexico City – organized by Estancia FEMSA

Mousse Magazine

Exposición Marius de Zayas

hotbook // Fin de semana

Edgardo Aragón en Casa Barragán: caballos, música y silbatos de la muerte


Música, caballos y arquitectura: un corrido de Edgardo Aragón para Luis Barragán


Secret spaces: Iñaki Bonillas’ exhibition in the hidden nooks of Casa Luis Barragán




Complicidad en Casa Barragán

Nexos // Luciano Concheiro

Barragán fetichista, muestra que mezcla religión y sensualidad

La Jornada // Fabiola Palapa Quijas


A Dada Exhibition Fetishizes the Movement’s Ephemera

Hyperallergic // Devon Van Houten Maldonado

DADA Zúrich, consisting of a suite of original Dada documents, magazine editions, and prints belonging to the Archivo Lafuente in Spain, is now on display in an unlikely exhibition space: the Casa Luis Barragán in Mexico City, where the architect worked and lived until his death in 1988. What does Barragán’s architecture have to do with the Dada work currently on view within its walls? Despite the list of potential intersections between Dada’s deconstruction of art into overwhelming visceral experiences and Barragán’s “emotional architecture,” curator Javier Maderuelo insisted to Hyperallergic during the press preview that there was, in fact, no connection between the works on display and the architect’s residence-turned-museum. Despite this curatorial oversight, allow me to suggest the importance of Dada today as more than an archival exhibition to be appreciated as stagnant historic relics in a vitrine. “Dada’s dedication to the nonsensical and to the simultaneity of contradictions is not only an endeavor to be realized within art but an attempt to confront reality in its true state,” wrote art historian Dorothée Brill in Shock and the Senseless in Dada and Fluxus. The bit about the simultaneity of contradictions rings especially true today: The sensory overload brought about by industrialization and compounded by war during the 20th century has turned into a cascade of digital information and seemingly coexistent but contradictory universes of “fact” in the 21st century. Suddenly, as Tzara and Ball predicted, we’re confronted with the subjectivity of truth and senselessness. Dada foresaw a void of meaning compounded by a lack of objective truth — which paints the landscape for art and life today. The exhibition at Casa Luis Barragán includes the first issue of the Cabaret Voltaire magazinein which the meaningless word “dada” first appeared in 1917, along with a series of eight prints by Marcel Janco and a signed Tzara poem. However, because the show is composed of closed magazines and pamphlets written in German and French, without Spanish or English translations, the archival material fails to give the audience a sense of what Dada artists’ work actually was. Overall, the show unfortunately falls into the very object fetishization Dada fought against with performances, collage, writing, and concrete poetry. The publications as objects, which, though perhaps the most tangible legacy of their work, made up only a small part of the Dada practice, don’t actually offer much insight into their creative process, where aesthetics were secondary to purposeful irrationalism. Dada was explicitly political in its attempts to transcend preconceived notions about reality by shocking viewers into questioning the nature of art and modern life. Dada sought to destroy ordinary concepts about reality and to escape from the power games of war that sent the group of young artists fleeing the draft in Berlin to resettle in Zurich, where Ball first worked playing piano in a variety show that turned into the Cabaret Voltaire. Ball and his friends weren’t trying to start an artistic movement, but, in the melting pot that was wartime Zurich, they intended to experiment wildly. Moreover, they sought to go beyond reason, beyond understanding and common sense. Common sense is the enemy of Dada, and its fierce individuality formed as a resistance to banal suffering. “I am against systems, the most acceptable system is on principle to have none,” wrote Tzara in the first Dada manifesto published in 1918.  “Married to logic, art would live in incest, swallowing, engulfing its own tail, still part of its own body, fornicating within itself, and passion would become a nightmare tarred with protestantism, a monument, a heap of ponderous grey entrails.” As Brill argues, Dada sought to confront the modern void of meaning by denying any familiar form. “The experiment of de-familiarization consists in trying to think to infinity, against the horror of the void, in the wilderness of non-human mental landscapes, with the shadow of death dangling in front of our eyes,” writes Rosi Braidotti in The Posthuman. Dada thinking permeated the 20th century through Fluxus and feminism, as a transcendent practice, and it can be referenced again, as we face the decomposition of established value systems and scientific fact. Dada was antiscientific, even anti-art, as Brill suggests in her book, so as not to be solidified and objectified into art objects with a market of prefabricated meaning. The exhibition of Archivo Lafuente’s Dada documents is shallow in that it portrays the movement through familiar pieces and presentations that provided but a façade of its “simultaneity of contradictions.” And yet, enthusiasts with a healthy curiosity about Dada history won’t want to miss the chance to see the material ephemera commemorating the movement’s legacy on display for the first time in Mexico. DADA Zúrich continues at Casa Luis Barragán (General Francisco Ramírez 12-14, Col. Daniel Garza, Mexico City) through April 30.