Gwladys Alonzo (1990, France) grew up in a family of Polish and Sicilian immigrants in various rural and industrial areas of France. The wide-ranging geography and environments she experienced growing up fed her sensitivity to codes and identities of different cultures. From Latin America to Europe, the landscape she investigates continues to grow, a rural culture confronting an expanding universe on an international scale.
Gwladys Alonzo’s aesthetic and lexical vocabulary reveals confrontations between the natural and the industrial, which transcribe their extreme material qualities on her sculptures. She asserts mobility throughout her practice, "poaching the outside" with materials and forms from volcanoes to traffic jams, skyscrapers, and urban ruins. Alonzo’s approach to sculpture breaks the stereotypes of the masculine practice of sculpture where massiveness rhymes with perpetuity and immobility.
Like autonomous bodies, once erected in space her sculptures combat their surroundings. The artist proposes a complex kitchen composed of transmutative practices and hybrid gestures. She emancipates the materials from their conventions. The tiles come off the wall, the marble does not shine anymore, the rebar are exposed, the concrete becomes fragile. Alonzo’s constructions force contention amongst the senses, through precarious formal mounds. At the same time, minimal and direct, repeated gestures build dense bodies. Somewhere between signature and vandalism, the pointed addition of images creates an intimate duality between the artist and the raw generic material.
Mexico 1987. Lives and works between Mexico City and Paris
Allan Villavicencio holds a BFA in Visual Arts from the National School of Plastic Arts, UNAM, Mexico City, 2012.
His work has been exhibited in several countries such as Mexico, France, Peru, United States, United Kingdom, Columbia, Spain, as well as in international fairs: ARCO (Madrid), ZonaMaco (Mexico City) or Untitled (Miami) among others.
Villavicencio has been awarded with several prizes and recognitions among which FONCA Young Creators scholarship stands out in three issues: 2010, 2013 and 2017. He also received the Honorable Mention for XVIII Rufino Tamayo Painting Biennial 2018, National Nomad Veracruz Biennial 2014 and V Yucatan Biennial 2012. In 2014 he was awarded with Acquisition Prize of the National Encounter of Young Art in Aguascalientes, MX.
His work is part of numerous private collections as well as the Mario Testino Museum (Lima, PE), the Contemporary Art Museum of Aguascalientes (MX) or the JM SR Collection (Querétaro, MX) ones.
His practice gained international attention with more than 10 solo shows during the past 4 years of which stand out: La recherche du rayon vert, Maëlle Galerie, Paris, 2019; Notes for a landscape, IK Projects Gallery, Lima, 2018; Despliegues, CRGS-UDEM, Monterrey, 2017; Construir una grieta, Galería Libertad, Querétaro, 2016; Un vacío edificado, Galería Luis Adelantado, Mexico City, 2016 and Solo Project, Matadero Contemporary Art Fair, Madrid, in 2015.
Between his numerous participations to collective exhibitions we can highlight the following selection: XVIII Biennial Rufino Tamayo, Museo de arte contemporáneo de Oaxaca, 2018; México: Pintura reactiva, (cur. Carlos Palacios), Museo Carrillo Gil, Mexico City, 2018; II Landscape Biennial (cur. Guillermo Santamarina), Museo de arte contemporáneo de Sonora, 2017; Tropismes, (cur. Heiwata), Cité des Arts, Paris, 2016; Incitatus, Celda Contemporánea, Universidad del Claustro de Sor Juana, Mexico City, 2016; Capital flight, Chalton Gallery, London, 2016 and Ergos Panoptes, (cur. Marco Arce), Museo Carrillo Gil, Mexico City, in 2014.