29 JUL - 26 AUG, 2023



3 AUG | 5PM

Guided session with listening of

Dispositivo sonoro

10 AUG | 7PM

Exploration methodologies around the wind, performative conference on research with Sandra Sánchez, Miguel Jara, Isabella Alves and Guillermo Boehler

19 AUG | 6PM

Lecture of El aire y los sueños from Gastón Bachelard with Alí Cotero, Renata Del Riegoa and Tanya Redondo

26 AUG | 6PM

Sound improvisation of Ofrenda a Guabancex with Gabriela Galván and Paulina Grange

Translation: Ashley Michelle Casillas

Assistance: Joshua Jobb

Production: Todo Woooow

Collaboration: Dan Sánchez Díaz V, Xica, Elisa Ciganda, Pablo Muñoz and Aparato Cerámico, Daniel López, Horacio Cadzo, Víctor Manuel Gómez Velazquez, Alejandro Almaraz Guerrero, Gabriela Galván

Documentation: Dan Sánchez Díaz V

We live amongst forces. There is atmospheric pressure and gravity. Bodies that sustain themselves in between them and amidst the wind. Swaddled, we can breathe. The relationship is not only from constant contact, but rather from life and musical instrument: we receive, we contain and we let go. Sounds that vibrate in continual movement. Inhale, exhale, circulate. Echo.

The wind is a medium that our bodies inhabit. We move about in a continual dialogue with it. Sometimes, we go through it; other times, it goes through us. The ebb and flow is the constant. Not two poles, but a current that refreshes itself once and again. Breaths, fragments.

The wind and its movement do not cease, the ways in which it moves produce figurative images, scientific, beautiful, indeterminate, affective and also painful. Not only the shapes and mythologies, but also the perceptions and interactions, improvisations and routes where sediment is deposited upon surfaces. We see them with eyes, skin and ears.

Use the body to investigate the ways of the wind. Artist Fernanda Barreto has dedicated many years to its discovery. She knows its scales, as they are compasses for the experience of living. She charts and narrates it while gently caring for its enigma. She knows its magnitudes, its generosity in life and its counterpoint of destruction. Inescapable, it surrounds [life], inhabits it, oxidises it. Nevertheless, there is no such thing as too much contact in order to strike up conversation, the artist gets ready, attentive, to unite with the wind.

Place the body in the wind like a candle on a ship and a ship in the sea.

Fernanda summons the gale winds to activate the nebulous imagination, a desirous, speculative and epistemological production that leads to the potency of the image. In order for the image to become action, she has made different objects that catalyze the relationship between the bodies and the forces of the wind.

Although the first collaboration is with the wind itself, the pieces in this exhibition have been talked through and worked with by many hands. The ceramics—that concentrate the sound of the air that enters—were made alongside Pablo Muñoz. The harp—that registers distinct winds and converts the forces into music—was co-designed by the artist and strings craftsman Daniel López. The videos were filmed and choreographed by the hand and eye of Dan Sánchez Díaz V. The suit was made alongside Horacio Cadzco. All of it together, from a practice of care and agreements to actions, gave way to the arrival of object-action.

The images, pieces and sounds in this exhibition not only form part of an assembly of people willing to become aware of and let the wind pass through, but also are the result of procedures and performances that Fernanda has put into action, whether it be in the workshop, on city rooftops, or on the shore of different seas.

More so than site-specific pieces, her objects-action produce spaces—open to be inhabited—consequence of the indeterminate movements of the wind altering the artist. The landscape is not what is in the distance but rather what emerges when bodies, winds, objects, touch and languages mix.


Sandra Sánchez, Curatorial Companion

Fernanda Barreto (b.1988, São Paulo, Brasil) lives in Mexico City. Artist, translator, and director of cultural affairs, interested in critical thinking, collective and social practices. For many years, her investigations have focused on pursuing, observing, tracing and listening to the wind and generating artefacts and devices that summon the body to get closer to this phenomenon. 

Visual Arts teacher with a focus on art and environment (FAD, UNAM, Mexico). She was a representative in the Center of Artistic Investigations (CIA, Buenos Aires) and studied in SOMA’s educational program in 2014-2016 (Mexico). Currently she is pursuing her doctorate in Visual Arts (FAD, UNAM, Mexico). She was a curator in the Second Biennial of Arts and Design in UNAM’s Pedir lo Imposible (2020). She managed and curated the exhibition Tú de mi/Yo de ti in the Museum of the City of Mexico, Mexico (2019). In 2022 she was in charge of Caminar la Palabra, the public/pedagogical program of UNAM’s 3rd Biennial of Arts and Design, Resistencia Intangible, ideas para posponer el fin del mundo. She forms part of the Red de Pedagogías Empáticas (Network of Empathetic Pedagogy) in the Latin American territory. She has been awarded the Adidas Border Scholarship (2015) and the Cultural Production Residency at Casa Vecina (2016). She has shown her work in different countries such as Brazil, Mexico, Argentina, Spain, England, the United States of America, Costa Rica, and New Zealand.

Sandra Sánchez (b. 1988, Mexico City) writes about art. She is a curator and director of cultural affairs. Her current research centres on forms of collaborative writing and the ethic-aesthetic relationship amongst different artistic practices. In 2015, she founded Zona de Desgaste, a space dedicated to writing and critical thought about contemporary art. She is part of the curatorial collective, Underbelly, alongside Mariel Vela. She forms 1⁄4 of Ambient to read, a group that researches the intersection between music and text. She edits the magazine OndaMx. She is a lecturer in the University of the Cloister of Sor Juana and carries out the ongoing workshop, Encuentros de Lecturas Afectivas (Encounters with Affective Readings) in the Anahuacalli Museum.