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Booth B111
Centro Citibanamex, Mexico City, MX

Sean Kelly returns to Zona Maco in Mexico City and celebrate its 20th anniversary, with a visually captivating presentation. The booth's design features two salon-style hangings, one focusing on abstraction, the other on representation, both featuring contemporary artists alongside iconic and historical works to offer a nuanced exploration of the gallery's diverse roster.

The abstract salon-style wall, featuring work by Jose Dávila, Andreas Eriksson, Ilse D'Hollander, Callum Innes, Donald Judd, Idris Khan, Sam Moyer, Loló Soldevila, and Janaina Tschäpe presents a captivating dialogue of forms, colors, and conceptual approaches. The intentional pairing of these artists fosters connections, highlighting shared themes despite their distinct styles. For instance, the repetition in Donald Judd's woodcut print resonates with Idris Khan's nuanced emphasis on linear compositions inspired by Marcel Duchamp. While Janaina Tschäpe and Ilse D’Hollander depict abstracted landscapes through movement and gesture, Sam Moyer’s contrasting matte and gloss paints reflect and absorb light allowing the two-dimensional work to activate the three- dimensional space. Callum Innes’ ethereal squares of color provide insights into individual hues and their interplay in shaping the final work.

On the representational wall, the juxtaposition of contemporary and classical artists such as
Edgar Degas, Awol Erizku, Antony Gormley, Laurent Grasso, Robert Mapplethorpe, Hugo McCloud, and Andy Warhol presents an exploration of portraiture and still-life. Laurent Grasso's new paintings, depicting plant mutations, in the style of 18th and 19th-century botanical plates, introduce a surreal and fantastical element. Edgar Degas provides a classical element with a charcoal sketch from a dance rehearsal, capturing gestures and movements with emotive intensity. Awol Erizku’s riff on Marcel Duchamp’s infamous readymade, L.H.O.O.Q., 1919, addresses issues of race, representation, and value in the canon of Western art history.

The booth at large, featuring work by Marina Abramović, James Casebere, Julian Charrière, Jose Dávila, Donna Huanca, Hugo McCloud, Landon Metz, and Frank Thiel creates a complementary dialogue, seamlessly making connections with the salon-style walls. Marina Abramović's large-scale self-portrait invites viewers into an immersive exploration of identity and self-expression. James Casebere's photograph, inspired by the architecture of Luis Barragán, provides a captivating bridge between conceptual abstraction and architecture. Jose Dávila also draws inspiration from Barragán in a new sculpture incorporating natural stone and colored concrete, a process made famous by the architect. A work from Dávila’s new cut-out series, currently on view at Sean Kelly, Los Angeles, challenges conventional connotations and limitations of photography by removing the central figure. Julian Charrière’s photograph captures a moment from his film Controlled Burn, on view at Sean Kelly, New York, which visualizes imploding fireworks through an aerial landscape. Biomorphic shapes are imbued with visual dynamism and a sense of movement in Landon Metz’s new diptychs. Imagery of a fruit cart vendor’s colorful umbrella signifies hope and displacement, labor and pleasure, color and grit, in Hugo McCloud’s new plastic painting. Donna Huanca's sinuous, abstract paintings extend the life cycle of her performances by merging the transience of performance art with the permanence of painting. Frank Thiel's photographs of weathered paint surfaces in post-wall Berlin focus on recent social and political histories.

Sean Kelly Gallery's booth at Zona Maco transcends individual artworks, to create connections between artists, styles, and historical references. The installation highlights the gallery's commitment to presenting a rich and diverse spectrum of contemporary art, celebrating Zona Maco’s 20th anniversary.