In Leonor Antunes’ work, materiality and form are symbolic and historical elements. For her exhibition at the Tamayo Museum, she presents a series of pieces that dialogue with the space’s architecture.
Mexico City, Paseo de la Reforma #51 Bosque de ChapultepecMap
ar from being mere mediums or tools, the materials she employs and the composition of her sculptural installations are a result of a research process, which allows her to investigate and reflect on manual production methods, materials, shapes and patterns within design objects and modernist architecture. The installations traverse the interior of the building, creating translucent atmospheres, which in turn create layers and visual superimpositions throughout the galleries; this results in the formation of a single larger sculpture inside the space. The use of ropes fashions the space between the floor and the ceiling, from one wall to another, thus emphasizing the empty spaces between sculptures. The series of pieces and installations which make up the exhibit, reflects the artist’s interest in materials such as leather, wood, metal and natural fibers; this echoes her desire to create formal encounters and dislocations between the idea of modernity or post-industrialism, and the memory of manual production, which creates a unique relationship between body, context, space and matter; this is where her understanding of sculpture moves and arises from.