Saber Acomodar:
Art and Workshops of Jalisco 1915-Now
September 13, 2017–January 21, 2018
September 13, 2017–January 21, 2018
![An illustration of a man running. A scarab. Both against an orange and green-blue plaid patter.](/sites/default/files/styles/gallery_image/public/2017-07/Mendez%20MENRU04.jpg?itok=SyiqltE6)
Ruben Mendez, Sin título, 1996. Oil on canvas, 10.5 x 12.5 cm. Private collection.
![Abstract patterns composed of triangles in purple, pink, and mustard yellow.](/sites/default/files/styles/gallery_image/public/2017-07/Terrazas%2008-850584_0.jpg?itok=DKOA_8EC)
Eduardo Terrazas, 2.11, from the series "Tablas", 1970–1972. Wool yarn on wooden board covered with Campeche wax, 101 x 101 x 4 cm. Museo Universitario Arte Contemporáneo, UNAM.
![Greyscale colored pencil illustration of a wooden ship fighting against rough seas.](/sites/default/files/styles/gallery_image/public/2017-07/Mendez%20Blake%20naufragio%20VII%20cafe%20300dpi_0.jpg?itok=J49sy0dK)
Jorge Mendez Blake, Toute Penseé émet un Coup de Dés VII, 2013. Colored pencil on paper, 150 x 120 cm. Collection of Patricia Ortiz Monasterio.
![An abstract depiction of a humanoid subject. Its head resembles a mushroom, its arms resemble noses.](/sites/default/files/styles/gallery_image/public/2017-08/Daniel%20Guzma%CC%81n.jpg?itok=o3M8VjnC)
Daniel Guzmán, Sin título, se la serie "Chromosome Damage", 2014. Pastel and acrylic on paper, 63.5 x 44 cm. Courtesy the artist and kurimanzutto, Mexico City.
![Golden dolls are piled in a corner.](/sites/default/files/styles/gallery_image/public/2017-08/Daniela%20Aguilar.jpeg?itok=VnpPMc0z)
Daniela Aguilar, Del Monton, 2017. Bronze, brass, suede, silk, tulle, pearls, enamel, beads, sequins, magnets stainless steel springs, and stainless steel wire, 33 x 32 x 28 cm (each doll). Courtesy the artist.
![Stitchwork in green, white, red, and blue resembling an X.](/sites/default/files/styles/gallery_image/public/media/2017-10/0115-from-the-hip-photo_copy.jpg?itok=lg1UFXQ1)
![Shot of a gallery with golden colored artworks on the wall.](/sites/default/files/styles/gallery_image/public/media/2017-10/mca-fall-2017-1055_0.jpg?itok=jvp-CoLT)
SABER ACOMODAR: Art and Workshops of Jalisco 1915-Now, Museum of Contemporary Art Denver, 2017. Photograph © Kelly Shroads.
![Installation shot. Artworks hang on the wall. They are minimalist.](/sites/default/files/styles/gallery_image/public/media/2017-10/mca-fall-2017-1130_0.jpg?itok=32Ai2C5t)
SABER ACOMODAR: Art and Workshops of Jalisco 1915-Now, Museum of Contemporary Art Denver, 2017. Photograph © Kelly Shroads
![Shot of a museum hallway and gallery space. A large golden artwork with circular shapes hangs on the wall.](/sites/default/files/styles/gallery_image/public/media/2017-10/mca-fall-2017-1111_0.jpg?itok=84qzndY_)
SABER ACOMODAR: Art and Workshops of Jalisco 1915-Now, Museum of Contemporary Art Denver, 2017. Photograph by Kelly Shroads.
![Painting in black and white. The upper half is made up of patterns from circular dots. The lower half is black.](/sites/default/files/styles/gallery_image/public/media/2017-10/0033-from-the-hip-photo_copy.jpg?itok=-WRLpsp3)
Eduardo Terrazas, Crecimiento exponencial. 1975. Acrylic on canvas.
![White fiberglass sculpture of a man leaning his forehead and forearm on a white wall. He looks exhausted.](/sites/default/files/styles/gallery_image/public/media/2017-10/0077-from-the-hip-photo_copy.jpg?itok=7YkxNM3C)
Gonzalo Lebrija. Big Lamento, 2008. Fiberglass. 175 x 60 x60 cm.
![Close up shot of a tapestry in pink and blue. The subject is unclear.](/sites/default/files/styles/gallery_image/public/media/2017-11/0096-from-the-hip-photo_copy_2.jpg?itok=IyXz-A3C)
Fernando Palomar, Genése en direct, 2013.
Saber Acomodar: Art and Workshops of Jalisco 1915-Now presented an investigation of the work carried out in studios and artisanal workshops in Jalisco, Mexico. Focusing on the last 100 years of production, the works included in the exhibition showcased collaborations between artists and artisans (e.g. potters, carpenters, blacksmiths, jewelers, sign painters, and printmakers) who lived and worked in western Mexico. The result of these intersections was the integration of contemporary ideas and both pre-colonial techniques and methods introduced by the Spanish. Recently, artists have employed traditional materials and practices to produce complex conceptual objects and installations.
The exhibition included artwork by Daniela Aguilar (b. 1975, Guadalajara), Jorge Méndez Blake (b. 1974, Guadalajara), Jose Dávila (b. 1974, Guadalajara), Claudia Fernández (b. 1965, Mexico City), Christian Franco (b. 1980, Baja, California), Mathias Goeritz (1915−1990, b. Germany), Cynthia Gutiérrez* (b. 1978, Guadalajara), Daniel Guzmán (b. 1964, Mexico City), JIS (b. 1963, Guadalajara), Juan Kraeppellin (1948−2009, b. Guadalajara), Gonzalo Lebrija (b. 1972, Mexico City), Rubén Méndez (b. 1960, Guadalajara), Fernando Palomar (b. 1967, Guadalajara), Jorge Pardo (b. 1963, Havana), Carlos Ranc (b. 1968, Paris), Jesus Reyes Ferreira (1880−1977, b. Guadalajara), Eduardo Sarabia (b. 1976, Los Angeles), Juan Soriano, Luis Miguel Suro (1972−2004, b. Guadalajara), Eduardo Terrazas (b. 1936, Guadalajara), Mario García Torres (b. 1975, Monclova, Mexico), Francisco Ugarte (b. 1973, Guadalajara), Taller Ditoria (established 1999), and Workshop of Timoteo Panduro.
* Member of the National System of Art Creators 2016-2019 of the National Fund for Culture and the Arts, Mexico.
Curated by
Patrick Charpenel, Executive Director, El Museo del Barrio, New York
Saber Acomodar: Art and Workshops of Jalisco 1915-Now was the principal exhibition of the Biennial of the Americas, and was organized by the Museum of Contemporary Art Denver and the Arizona State University Art Museum.
This exhibition was made possible by the generous support of the Biennial of the Americas, Maestro Dobel Tequila, The Consulate General of Mexico, and the Arizona State University Art Museum. MCA Denver exhibitions are also sponsored in part by the Director's Vision Society. MCA Denver also thanks the citizens of the Scientific and Cultural Facilities District.
The exhibition traveled to the Arizona State University Art Museum, March 17, 2018–June 30, 2018.