Condo Mexico City 2018 | Palletable Relations

Amber Cobb
Andrew Jensdotter
Oliver Marsden
Marco Treviño
Benjamín Torres

in collaboration with Gallery Hilario Galguera

April 14 — May 12, 2018

Opening Reception
Saturday, April 14th | 11am - 6pm

View Exhibition Details

<p><span class="name">Amber Cobb</span><br><em>Lash (Fragile Terms Loom Within) </em><span class='media'>Silicone</span>Size Variable: Approximately 60 x 52in |  142 x 152.5cm<br>2018<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry ACOB0080&body=I am interested in finding out more about Lash (Fragile Terms Loom Within)  by Amber Cobb'>Inquire</a></p>
<p><span class="name">Andrew Jensdotter</span><br><em>Blue 92</em><span class='media'>Carved latex on canvas</span>80 x 68 in  (203.2 x 172.7 cm)<br>2018<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry AJEN0047&body=I am interested in finding out more about Blue 92 by Andrew Jensdotter'>Inquire</a></p>
<p><span class="name">Oliver Marsden</span><br><em>Spectrum Fade GCBVM II (light)</em><span class='media'>Acrylic on canvas</span> 59.06 x 47.2in | 150 x 120 cm<br>2017<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry OMAR0001&body=I am interested in finding out more about Spectrum Fade GCBVM II (light) by Oliver Marsden'>Inquire</a></p>
<p><span class="name">Benjamín Torres</span><br><em> A Place (From the series Everyday the light pours in, Daily the color escapes) </em><span class='media'>Mixed Media</span> 79.3 x 28.5in | 201.5 x 72.5cm<br>2016<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry BTOR0001&body=I am interested in finding out more about  A Place (From the series Everyday the light pours in, Daily the color escapes)  by Benjamín Torres'>Inquire</a></p>
<p><span class="name">Marco Treviño</span><br><em>Pintura Policiaca no. 3 (When policemen discuss intensively about painting and landscape) </em><span class='media'>Paint commonly used to block and erase graffiti on gallery walls, on canvas</span>9in x 9in | 23 x 23cm<br>2016 - ongoing<br></p>
×

Amber Cobb
Lash (Fragile Terms Loom Within) SiliconeSize Variable: Approximately 60 x 52in | 142 x 152.5cm
2018
Inquire

×

Andrew Jensdotter
Blue 92Carved latex on canvas80 x 68 in (203.2 x 172.7 cm)
2018
Inquire

×

Oliver Marsden
Spectrum Fade GCBVM II (light)Acrylic on canvas 59.06 x 47.2in | 150 x 120 cm
2017
Inquire

×

Benjamín Torres
A Place (From the series Everyday the light pours in, Daily the color escapes) Mixed Media 79.3 x 28.5in | 201.5 x 72.5cm
2016
Inquire

×

Marco Treviño
Pintura Policiaca no. 3 (When policemen discuss intensively about painting and landscape) Paint commonly used to block and erase graffiti on gallery walls, on canvas9in x 9in | 23 x 23cm
2016 - ongoing

<p><span class="name">Amber Cobb</span><br><em>Lash (Fragile Terms Loom Within) </em><span class='media'>Silicone</span>Size Variable: Approximately 60 x 52in |  142 x 152.5cm<br>2018<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry ACOB0080&body=I am interested in finding out more about Lash (Fragile Terms Loom Within)  by Amber Cobb'>Inquire</a></p>
<p><span class="name">Andrew Jensdotter</span><br><em>Blue 92</em><span class='media'>Carved latex on canvas</span>80 x 68 in  (203.2 x 172.7 cm)<br>2018<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry AJEN0047&body=I am interested in finding out more about Blue 92 by Andrew Jensdotter'>Inquire</a></p>
<p><span class="name">Oliver Marsden</span><br><em>Spectrum Fade GCBVM II (light)</em><span class='media'>Acrylic on canvas</span> 59.06 x 47.2in | 150 x 120 cm<br>2017<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry OMAR0001&body=I am interested in finding out more about Spectrum Fade GCBVM II (light) by Oliver Marsden'>Inquire</a></p>
<p><span class="name">Benjamín Torres</span><br><em> A Place (From the series Everyday the light pours in, Daily the color escapes) </em><span class='media'>Mixed Media</span> 79.3 x 28.5in | 201.5 x 72.5cm<br>2016<br><a class='inquire' href='mailto:info@gildargallery.com?subject=Artwork Inquiry BTOR0001&body=I am interested in finding out more about  A Place (From the series Everyday the light pours in, Daily the color escapes)  by Benjamín Torres'>Inquire</a></p>
<p><span class="name">Marco Treviño</span><br><em>Pintura Policiaca no. 3 (When policemen discuss intensively about painting and landscape) </em><span class='media'>Paint commonly used to block and erase graffiti on gallery walls, on canvas</span>9in x 9in | 23 x 23cm<br>2016 - ongoing<br></p>
×

Amber Cobb
Lash (Fragile Terms Loom Within) SiliconeSize Variable: Approximately 60 x 52in | 142 x 152.5cm
2018
Inquire

×

Andrew Jensdotter
Blue 92Carved latex on canvas80 x 68 in (203.2 x 172.7 cm)
2018
Inquire

×

Oliver Marsden
Spectrum Fade GCBVM II (light)Acrylic on canvas 59.06 x 47.2in | 150 x 120 cm
2017
Inquire

×

Benjamín Torres
A Place (From the series Everyday the light pours in, Daily the color escapes) Mixed Media 79.3 x 28.5in | 201.5 x 72.5cm
2016
Inquire

×

Marco Treviño
Pintura Policiaca no. 3 (When policemen discuss intensively about painting and landscape) Paint commonly used to block and erase graffiti on gallery walls, on canvas9in x 9in | 23 x 23cm
2016 - ongoing

What could be a more codependent lover than color? A loose spectrum of identities defined by association and degree. No blue is in fact true, but shades of whatever else it encounters along the way. This wheel of reason has long been canon; Goethe first observed it, Kandinsky and Klee believed it a spiritual matter, Albers, the pragmatist (who, by the way, created his colour theory in Oaxaca), taught it was all relative. Even those ambitious artists who have attempted to encompass vision with a singular pigment or light have had to contend with edges, both physical or temporal. What is the color of the wall around the Rothko, or the floor in front of the Kelly monochromes, or the bathrooms just after leaving a Turrell perceptual cell? 


But this incestuous set of relationships is only part of color’s enmeshed love triangle. What about its entanglements with the world of experience beyond itself? Can colour be separated from context? Saturation from meaning? Hue from symbols? Despite, or maybe exactly because of its many referential qualities, colour has evaded accuracy in language. While modern sociology tells us most humans across cultures have a low vocabulary of individual colour terms at our disposal – between single and low double digits – browse any Home Depot paint aisle and you’ll find an expansive and absurd chromatic dictionary – Whispering Peach, Dragon’s Blood, Mermaid Net, Phantom Mist, Grandma’s Sweater, Likeable Sand. These saccharine linguistics turn the built environment into a blank slate waiting to be coated in the wooing nonsense of bad haiku and gooey sonnets. But what about those equally associative names that don’t show up in marketable labels: Blooming Contusion, Fresh Puss, Clotted Blood, Peeling Scab. Are these colours truly that far outside of our array of palatable choices? Can a bouquet of roses by any other name be both Architectural Digest approved and a trauma
trigger? 

These are just a few of the entwined conundrums found in Palletable Relations. In the works of Andrew Jensdotter, the artist mines the collective conscious for color preference. Sourcing pigments from paint recycling centers, like an anthropologist, the artist collects these pigment leftover from people’s home-improvement and commercial projects and separates them by common colour distinctions. Layering hundreds of layers within a particular range onto a single canvas, he carves back into these aggregate surfaces revealing a democratic spectrum of taste. 

Amber Cobb on the other hand complicates the perception between pleasing and abject color relationships. The artist who regularly engages the aesthetics of trauma, here recreates and rearranges gradients found within bruised and wounded flesh. Casting silicon forms from the decorative patterning of a hotel mattress cover, a locus of bodily contact and experience, the artist creates patchwork skins of variously shifting hues. Arresting and seductive, these draped and bulging forms blur boundaries between attraction and repulsion using the chromatic pairings of physical violence and healing.

Oliver Marsden’s artistic practice revolves around the perception and possibilities of movement and fluidity in color, sound and order. Using painting as a visual object that filters and reflects light, the artist portrays that every color has its own energy and space. Marsden’s Fade paintings come from colour memory; studying surfaces and reflections, he strips away the details of everyday scenes, reaching the essence. Marsden creates paintings in which you can experience the color in relation to itself; interacting in a fragile visual tension and balance.

In Benjamín Torres’s work color is used as a visual tool to establish concrete and / or evocative spaces interacting with architectonic elements. In this series Diario se cuela la luz, diario se fuga el colour Torres uses windows - elements that serve both as barriers and access points - intervened with newspaper and solid blocks of paint. Closely related to painting, this works allow Torres to freely navigate through geometry, abstraction and composition. In this particular instance, the extraction of color as form draws attention to surrounding elements within the gallery and the street, which otherwise might go unnoticed. 

Marco Treviño’s interest for the processes and materials used in his production is often related to the social implication of colour and to the consequences of the encounter of commercial painting with the poetry used in the nomenclature of some color sample-books. Pintura policiaca (When policemen discuss the relationship between poetry and industrial painting) reflects on the industrial landscape and the power that urban colouring has on society and questions the entities behind that decision.

About Condo
Condo takes its name from condominium and is a large-scale collaborative exhibition of international galleries. Host galleries share their spaces with visiting galleries – either by co-curating an exhibition together, or dividing their galleries and allocating spaces. The initiative encourages the evaluation of existing models, pooling resources and acting communally to propose an environment that is more conducive for experimental gallery exhibitions to take place internationally.
Palletable Relations is part of the first edition of Condo in Mexico City.


* Beneficiario del programa Sistema Nacional de Creadores de Arte 2018 - 2021 
del Fondo Nacional para la Cultura y las Artes

Selected Works

  • Amber Cobb
    Lash (Fragile Terms Loom Within) SiliconeSize Variable: Approximately 60 x 52in | 142 x 152.5cm
    2018
    Inquire

  • Andrew Jensdotter
    Blue 92Carved latex on canvas80 x 68 in (203.2 x 172.7 cm)
    2018
    Inquire

  • Oliver Marsden
    Spectrum Fade GCBVM II (light)Acrylic on canvas 59.06 x 47.2in | 150 x 120 cm
    2017
    Inquire

  • Benjamín Torres
    A Place (From the series Everyday the light pours in, Daily the color escapes) Mixed Media 79.3 x 28.5in | 201.5 x 72.5cm
    2016
    Inquire

  • Marco Treviño
    Pintura Policiaca no. 3 (When policemen discuss intensively about painting and landscape) Paint commonly used to block and erase graffiti on gallery walls, on canvas9in x 9in | 23 x 23cm
    2016 - ongoing