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


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

The Art Newspaper // Linda Yablonsky


Is Mexico City the next Miami? Is Art Basel Miami Beach over? Will Frieze Los Angeles burn Zona Maco? Fair questions, literally, for a restless art world always eager for the next new thing.

These were among the issues under discussion in the run-up to this week’s string of art fairs, gallery openings, and private collection and museum visits anchored by Zona Maco, now in its 17th year. However it shakes out, Mexico City’s increasing prominence as a cultural seedbed — an inspiration for Oscar favorites like Alfonso Cuarón’s Roma — makes it a promising candidate to lead the next wave of art adventurism.

One pre-Maco (or #premaco) indicator was the Groundhog Day (locally Tamale Day), VIP opening of Fraccionar, the latest group exhibition to intrude on the indisputably transcendent experience of Casa Luis Barragán.

Organised by Inti Guerrero (the Hong Kong-based Estrellita B. Brodsky Adjunct Curator of Latin American Art for the Tate in London), Fraccionar is the current presentation of a programme initiated in 2016 by Monterrey’s Estancia FEMSA (a leading beverage company’s collection) and Casa Luis Barragán.

Estancia FEMSA’s co-artistic director Eugenia Braniff was on hand with Guerrero to lead tours. (Only a few people at a time can enter the house.) Going in, I was wary. Such interventions into historical landmarks can be jarring, particularly at Barragán’s home, where the addition of contemporary works may call attention to the pristine architecture while simultaneously diminishing it.

Barragán (1902-88) is Mexico’s answer to Le Corbusier. He’s a hero. To fool with the harmonies of his play of light, colour and shadow is risky business. So I’m happy to report that Guerrero has succeeded where others have fallen short.

Barragán had an eccentric approach to collecting. He preferred reproductions of, say, a Modigliani nude or Picasso’s Guernica to actual paintings, except by his friends Chucho Reyes and Mathias Goeritz. He also mixed reflecting balls with religious artifacts, riding gear and turntables. (Barragán was a dedicated horseman and loved music.)

Sensitive to this environment, Guerrero chose an equally idiosyncratic selection of recent and historical works by 14 artists from half a dozen continents and hung them as if Barragán had placed them himself. So the intrusions felt like those of a welcome guest.

One standout was a dreamlike, 1985 painting by Julio Galán, a flamboyant personality befriended by Andy Warhol (and shown last year in New York by Timothy Taylor Gallery). Its imposition on a wall in a guest room is not only appropriate to the space but enlivens its dominant Catholic imagery and objects, which seem equally surreal. Black Christ, by Reyes, is almost frightening in both its effect on, and sympathy with, the architect’s super-austere bedroom.

Colonialism, and its attendant cultural appropriations, is a constant issue among Latin American artists and Guerrero introduced it in several ways at once. The mix of folklore, popular culture, politics and religious ritual in two intriguing, narrative paintings by Gideon Appah, a 28-year-old Ghanian, fits right in. One even enhance the wall in a sitting room. So does a collaged tapestry by the New Zealander John Pule that presides over the dining room with a satiric, “South Pacific” video by the Berlin-based Ming Wong.

Braniff accurately described another amusing video, by the Panamanian-American duo Donna Conlon and Jonathan Harker, as a “symphony of mangoes”. (Actually titled, Tropical Zincphony.) Projected on a large screen in Barragán’s studio, it choreographs a company of said mangoes as they bump and bang like a hard rain down a series of tin rooftops typical of shanty housing in Panama City.

There was a lot more, some more sobering or meditative than others, but it all added up to an absorbing show that ultimately respected the house, its contents and its designer in unexpected ways.

A raucous lunch at El Mirador, a classic cantina in business since 1904, transported the assembled guests back into the aesthetics of human behavior in 2019, as any art week will. This one made for a bracing start.

• Fraccionar, curated by Inti Guerrero and presented by Estancia FEMSA—Casa Luis Barragán, until 5 May 2019 at Casa Luis Barragán, Mexico City, Mexico