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


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



When Iñaki Bonillas was first invited to intervene on Mexico City’s Casa Luis Barragán by Hans Ulrich Obrist, as part of the Swiss curator’s acclaimed 2003 exhibition ’The Air is Blue’, the Mexican artist was not allowed to alter the house in any way. So instead, Bonillas decided to hang a photo (on a pre-existing nail in Barragán’s famous pink foyer) of an empty blackboard that he’d happened upon in a local school with colourful walls, whose tonality and silence mimicked the vibrant solitude of the carefully curated plant selection in and around the home. ’At that time, when I was sneaking around the house, I [was] pretty impressed to discover all the places you can find places to hide things,’ says Bonillas. ’It was curious in this type of architecture, where everything that is visible makes a very precise sense. You need a second house where everything that doesn’t make sense goes to find its place.’ Since that time, Bonillas was thinking about how he could make an exhibition in the negative spaces of the house and studio the Mexican modernist built for himself in 1948. So when curator Eugenia Braniff offered Bonillas the second slot in a two-year installation program at the Barragán house – the first was an exhibition of works from the collection of Estancia FEMSA, which is sponsoring the program and updating the house with each project – he jumped at the chance. After two years of intense research, Bonillas, whose work often focuses on photo archives, has emerged with ’Secretos’, a multi-room conceptual spelunking expedition into every nook and cranny – or secrete place – of Barragán’s live-work spaces. ’One of the things that’s curious about Barragán is that he has many reproductions of artworks, especially Josef Albers. He could have bought an original but he preferred to buy a piece of cloth from Marimekko because the scale fit more properly to his desires,’ says Bonillas, pointing to one of the few original works in the house: a gold leafed Mathias Goeritz panel. As such, Bonillas has taken it upon himself to reproduce various historical art works, repurpose objects and contemporary pieces, and make new photo abstractions and embed them into the cubbies, cabinets and curios throughout the house. In a closet off the foyer, Bonillas installed a black box with a version of Hans Haacke’s Condensation Cube scaled to mimic the size of the Barragán-designed canvas lampshades throughout the house. Meanwhile, the neighbouring cabinet contains photographic inserts that invoke Man Ray’s The Starfish (with the lifelines of the furniture repairman’s hands painted pink) and Duchamp’s alter ego Rrose Sélavy (or in this case, Rose, to match the walls and the ’cancelled eroticism’ that pervade the home). ’This house is about layers and layers and layers of information; you enter one room and have no clue what the other is going to have in it,’ says Bonillas, leading us the the library where he hides a series of photograms (inside the chest of drawers, inside a closet) made from objects lying around the house. He made another series of soft-focus photos in the backyard taken through the mirrored prism of a fake John McCracken (tucked in some draws in the study) as well as granular studies of the deep Albers-esque geometric abstractions in the shag carpets that remain when the furniture is removed in the yellow-walled studio. You’ll also find a nod to Marcel Broodthaers’ mussels sculptures (complimenting the stoneware plates in the breakfast room) or David Bowie’s Lazarus video playing through a peephole in Barragán’s personal wardrobe overlooking a shrine to his wife, Iman. (She stayed at the house, against the Starman’s wishes, and was said to be one of Barragán’s muses.) To tie everything up, Bonillas has installed Nocturnal Writing – a series of photo engravings on the wall facing the window in Barragán’s studio. Made by rubbing images from his grandfather’s photo archive (trapped inside plastic) onto the photo paper, they are also a reference to a secret silent language invented by Charles Barbier during the Napoleonic wars. Says Bonillas, ’It’s all about two surfaces coming together.’