By Eliott Burns
Michael Sailstorfer’s debut solo show in Mexico City opens withWolken Monclova(2017), an arrangement of truck tyre inner-tubes, composed into nebulous chandeliers, leaning and bumping into each other and blocking out the sun, which typically lightens Monclova’s atrium entrance. Smoothly formed through their inflation they bring with them the presence of Berlin’s heavy winter skies, infecting Mexico’s optimistic attitude with European cynicism. The usually airy vacuum, with its verdant planted wall, is conferred a brooding presence and the threat of rain.
