Editing and translation: Ashley Michelle Casillas, Carla Lamoyi
Documentation: Aimée Suárez
The exhibition El revés de la sombra no es el reflejo en el agua [The reverse of the shadow is not the reflection in the water] is the result of the shared research between panósmico and Darinko Chimal. The work carried out between the reciprocal landscapes of the Anahuac Valley and the Mezquital Valley, investigates the trail of sewage metabolism, soil formation, the technoscientific models of food, and how its impact has transformed the social and cultural landscape of this territory.
Their artistic praxis questions the phenomenon of capitalist surplus in everyday life through the intention to revisit these marginal problems with different approaches. The methodology of panósmico seeks to broaden transdisciplinary knowledge to rethink ecological relationships between humans and territories, while Chimal employs speculative archeology devices to inoculate other narratives of the surface and its evolved footprint. El revés de la sombra no es el reflejo en el agua weaves an echoed narrative on how we might have grown resistant to the sense of contemporary pestilence.
Note: The title of the exhibition was translated into hñähñu by the Otomí poet Margarita León
Panósmico is an art collective based in Mexico City formed by Mariana Mañón and Manolo Larrosa. The collective’s practice focuses on expressing the ecological relationships between humans and territories, making visible the actors that shape up nature-culture. Their work has developed in transdisciplinary collaboration, building bridges with fields such as landscape architecture, democratic design, social cartography and derives that allows us to collect subjective and material information.
Darinko Chimal is an extra-disciplinary artist operating within non-representational dynamics as cooking, language and science fiction to design devices for speculative archaeology in specific contexts with the intention to investigate notions of landscape, ecosystem, territory, non-human ecologies and biocultural memory. These devices are configured immaterially through bodies of cognitive work and processes of sensitive research. Formally Chimal refers to his craft as an hybrid writing process and a translation located in between material and intangible sculpture.