What is all of this loaded with? When I ordered the Uber, I recalled a photo of Miriam in front of a mirror. Red light. An image of M and I from behind at a party with Boy Harsher playing in the background. I thought I hadn't checked Instagram. I heard nothing and saw nothing. Arriving at Pablo Villaseñor's house I was surprised by the darkness and the reddish tone in the courtyard. The flier had silently slipped into my subconscious between wakefulness and a daydream. Throughout the journey, I pondered the relationship between gold and death that Raúl has spoken to me about for some years. It's eerie. Data and a golden gleam that initially activates like a lure. This gleam in a photograph is sometimes a radiant color. I sensed that perhaps there would be something of that. Power and disappearance.

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Had there ever been a work of art that wasn't laden with the expectations and prejudices of the viewer or reader or listener however learned and refined?

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The Banda Municipal gallery presents the exhibition Paleontología Sideral [Sidereal Paleontology] by Mexican artist Dulce Chacón, curated by fernanda ramos mena. Upon entering, I get the feeling of visiting a science fiction museum or standing in front of a cabinet of geological curiosities from an indistinguishable past-future. Paleontología Sideral showcases the development of a long-term investigation complemented by another project by the artist, Los objetos que caen del cielo [The Objects That Fall from the Sky]. The research-fiction stems from an archive of images, observations, and tracking of fallen and found objects. The artist focuses primarily on the record of space debris and meteorites found near the Rincón del Paraguero crater in the Valle de Santiago, Guanajuato. From these records, a series of questions unfold regarding the implications that her findings have triggered on different scales of human life. This artistic research exercise strains the relationships between information and visualization within the frames of interpreting scientific and historical facts when speculative elements are involved.

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The painter Othiana Roffiel presents her most recent production, created specifically for her second solo exhibition at Karen Huber Gallery. On the longest wall of the room, we find two small-format paintings that share composition values, each mounted at one end. At the center of the same wall, there is a third medium-format painting in whose internal composition we can distinguish something that resembles a bouquet of flowers or sparks. A cluster of gestures sprouting from the center of the canvas. Wide and clear areas of air separate the three pieces. It becomes immediately clear that work has been done with a sense of balance that favors prudence over provocation (and seeks to be explicit about it). It might be tempting to complain that there aren’t many artworks, but all of them assertively occupy their rightful place.

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