image text special

'This Placement: 50/50', a Group Show Curated and Organized by Daniel Hüttler at Another Gallery CDMX, Mexico City

article image; primary-color: #D1CFD0;
article image; primary-color: #E1DFE2;
article image; primary-color: #C0C0C0;
article image; primary-color: #D1CFD2;
article image; primary-color: #D3D2D8;
article image; primary-color: #C4C3C1;
article image; primary-color: #DCDBD9;
article image; primary-color: #D7D5D6;
article image; primary-color: #D4D2D3;
article image; primary-color: #736268;
article image; primary-color: #373536;
article image; primary-color: #CFCCC7;
article image; primary-color: #A9A4A0;
article image; primary-color: #D4D3D1;
article image; primary-color: #BCB3B4;
article image; primary-color: #9C9899;
article image; primary-color: #A6A39E;
article image; primary-color: #C4C2C7;
article image; primary-color: #E8E0DE;
article image; primary-color: #DFD5D3;
article image; primary-color: #E9DFDD;
article image; primary-color: #E7E6E4;
article image; primary-color: #D0D0D2;
article image; primary-color: #EBEAE8;
article image; primary-color: #EAE5E2;
article image; primary-color: #D7D3D2;
article image; primary-color: #D9DADC;
article image; primary-color: #D0D1D3;
article image; primary-color: #DBDDDC;
article image; primary-color: #C4C6C3;
article image; primary-color: #DFDBDA;
article image; primary-color: #BBB9BC;
article image; primary-color: #C3BFC0;
article image; primary-color: #CAC6C7;
article image; primary-color: #D1CBCB;
article image; primary-color: #D5D1D0;
article image; primary-color: #ADA8A4;
article image; primary-color: #B6B1AE;
article image; primary-color: #CDC8C4;
article image; primary-color: #E7E3E0;
article image; primary-color: #CEC7C1;
article image; primary-color: #DED8D8;
article image; primary-color: #DACABB;
article image; primary-color: #B8B7BC;
article image; primary-color: #C6C4C7;
article image; primary-color: #AFA9AD;
article image; primary-color: #E0DEDF;
article image; primary-color: #2F333C;
article image; primary-color: #C8C4C5;
article image; primary-color: #D0CBCF;
article image; primary-color: #D2BCB1;
article image; primary-color: #C5BCB5;
article image; primary-color: #CFC6C1;
article image; primary-color: #DADADC;
article image; primary-color: #E0E0E0;
article image; primary-color: #E4DFD9;
article image; primary-color: #E2DEDF;
article image; primary-color: #E3E3E3;
article image; primary-color: #CACACA;

“It ends with love, exchange, fellowship. It ends as it begins, in motion, in between various modes of being

and belonging, and on the way to new economies of giving, taking, being with and for. It ends with a ride on

the way to another place altogether”*

AS BLOOD FLOWS

This Placement is not displacement

This Placement stands for itself as well as for others

This Placement aknowledges the various defaults of origins

This Placement splits into two to cure the division between opposite struggles

This Placement is situationist as well as universalist

This Placement ditributes the blood in our hands

This Placement influxes stuck systems of value by eliminating intermediators.

This Placement referes to precolonial history **

to deploy strategies of care.

50% for the artist

50% for the local resistance

CCCC

————————————————————————————————

*Halberstein, Jack, introduction text for THE UNDERCOMMONS, FUGITIVE PLANNING & BLACK

STUDY
, Stefano Harney & Fred Moten, p.01, Minor Compositions, 2013

**at this point it is crucial to mention and aknowledge the revisionary discourse that such historical constructs are undergoing but ill like to set an argument by citing Ruben Mendoza in his Aztec Militarianism and blood sacrifice article: “This chapter is by no means intended to constitute the definitive treatment for considerations of Mexica ritual violence and bloodshed, […] . Rather, my intention remains to move the debate away from the simplistic question of whether Amerindians engaged in religious violence and cannibalism to the deeper question of why any human group would have adopted ritual sacrifice and antropophagy on a monumental scale.”

G. Mendoza, Rubén, Aztec Militarism and blood sacrifice: the archaeology and ideology of ritual violence, p.53, university of arizona Press, 2007

7.2.19 — 10.2.19

Lucia Elena Průša, Zsófia Keresztes, Marek Delong and Anna Slama, core.pan, Botond Keresztesi, Estrid Lutz, ANOTHER NAME, Luna Ghisetti, Eiko Groeschl, Laurids Oder, Malte Zander, Anthea Schranz, One Path Leads To Another

Poster Design by Kristyna Kulikova and Alexandr Martsynyuk

Another Gallery CDMX

'Extra Medium' by Vladislav Markov at Spazio ORR, Brescia

'Her Own Devices' by Laurie Kang at Franz Kaka, Toronto

'THE MOUTH OF THE GIFTED HORSE' by Wisrah Villefort at Goswell Road, Paris

'FRESH' by Rune Bering and Kevin Josias at Tableau, Copenhagen

Armen Avanessian: ‘So let us ask, why we still call this a capitalist world?’

'Dream again of better Generationenvertrag' by Niklas Taleb at Lucas Hirsch, Duss

'TOYS' by Jascha Schieche at FONDA, Leipzig

'YOU ARE HERE' by Linda Lerseth at Podium, Oslo

'Space Almond Head Void' by Sasha Auerbakh at GOMO, Vienna

'UwU' by Tea Strazicic at ung5, Cologne

'Friends Objects' by Helin Alas at Loggia, Munich

'Talent Didn’t Bring Me Here' by Günther Möbius at BPA Space, Cologne

'P**** B**** ARENA' by Isabelle Frances McGuire at Good Weather (Hosted by Et al.

'Flat Tire' by Janis Dzirnieks at Robert Fruinstraat 56, Rotterdam

'Sheets of Past and Layers of Reality', a Group Show at Hoib, Tallinn

Garden Cult Triennale, Chapter I: Sopot, Poland

'踢館 Tek Kwun' at Tai Kwun Centre for Heritage and Arts, Hong Kong

'Theological Time, Mean Landscape, Circumcision Throne, Burping Bird, Auto-censur

Next Page