Beatriz Cortez | Candice Lin | Fernando Palma Rodríguez
Candelilla, Coatlicue, and the Breathing Machine was an exhibition that featured new work by three artists: Beatriz Cortez, Candice Lin, and Fernando Palma Rodríguez. The title refers to a facet of each artist’s contribution to the show, which ranged from wax pours to robotic storytellers to provisional shelters and beyond.
The varied installations and objects from these three artists generated a conversation about the animate qualities of land; human and non-human migrations & cross-pollinations; and the simultaneous existence of past, present, and future. Each artist spent time in Marfa and around the Big Bend, and these experiences were reflected in the commissioned works.
New drawings from Candice Lin explored common species around Marfa–cholla, creosote, ocotillo–and were produced after the artist ingested tinctures she made of each of these plants. Lin also created an immersive new installation from her research on the biopolitics of the candelilla plant, that was harvested and utilized on both sides of the nearby US/Mexico border.
Fernando Palma Rodríguez created new ‘mechatronic’ sculptures that speak to intersecting lands, myths and histories in Texas and Mexico through choreographed spatial storytelling. These kinetic works responded to algorithms from nature and to the movements of bodies throughout the gallery.
A new installation from Beatriz Cortez in Ballroom’s courtyard explored modernity, nomadic architectures, and the oppressive structures of Donald Trump’s family separation policy via geodesic domes constructed from chain link, mylar, folded metal, and scrapped car hoods. Cortez also engineered a new machine titled Infinite Mixture of Things, Past, Present, and Future that used a hypocycloidal gear to mix air and move a small garden of native crops, referencing the generosity of plant respiration and universal exchange of breath.
The exhibition put these three important artists and their distinct bodies of work in conversation about lands, plants, and histories particular to the U.S./Mexico border in West Texas and facilitated the production of a slate of new objects and installations via Ballroom’s commissions–supporting new art, ideas and relationships.
Candelilla, Coatlicue, and the Breathing Machine was organized by former Ballroom Director & Curator Laura Copelin.
Beatriz Cortez is a Los Angeles-based artist and scholar. Born in El Salvador, she has lived in the United States since 1989. She has had solo exhibitions at Clockshop/the Bowtie Project in Los Angeles (2018); the Vincent Price Art Museum in East Los Angeles (2016); Monte Vista Projects in Los Angeles (2016); the Stamp Gallery at the University of Maryland, College Park (2015); the Centro Cultural de España in El Salvador (2014); and the Museo Municipal Tecleño in El Salvador (2012). Her work has been included in numerous group exhibitions, including at the Tina Kim Gallery in New York (2018); the Hammer Museum in Los Angeles (2018); BANK/MABSOCIETY in Shanghai, China (2017); Ballroom Marfa in Marfa, Texas (2017); the Whitney Museum of American Art in New York (2017); the Centro Cultural Metropolitano in
Quito, Ecuador (2016); and Los Angeles Contemporary Exhibitions (2016). She has received a 2019 Foundation for Contemporary Arts Emergency Grant; 2018 Rema Hort Mann Foundation Fellowship for Emerging Artists; a 2017 Artist Community Engagement Grant; and a 2016 California Community Foundation Fellowship for Visual Artists. She holds an MFA from the California Institute of the Arts and a doctorate in Latin American literature from Arizona State University. Her upcoming solo exhibition, Trinidad: Joy Station will be held at the Craft Contemporary Museum of Los Angeles in 2019.
Candice Lin (b. 1979, Concord, Massachusetts)
Candice Lin (b. 1979, Concord, Massachusetts) works in Altadena, California. She received her BA in both visual arts and semiotics from Brown University, in 2001, and MFA in New Genres from San Francisco Art Institute, in 2004. Her work has been exhibited at the Hammer Museum, Los Angeles (2018); Taipei Biennial 2018, Taipei Fine Arts Museum (2018); Henry Art Gallery, Seattle (2018); Logan Center for the Arts, University of Chicago (2018); Portikus, Frankfurt (2018); Moderna Museet, Stockholm (2017); Bétonsalon—Center for Art and Research, Paris (2017); Human Resources, Los Angeles (2017); New Museum, New York (2017) SculptureCenter, Long Island City, New York (2017); Los Angeles Contemporary Exhibitions (2016); and Vincent Price Art Museum, Los Angeles (2013), among others. She is
the recipient of several residencies, grants, and fellowships, including a California Community Foundation Award (2014), Fine Arts Work Center Residency (2012), Frankfurter.
Fernando Palma Rodríguez (San Pedro Atocpan, Mexico, 1957)
Fernando Palma Rodríguez (San Pedro Atocpan, Mexico, 1957) lives and works in the agricultural region of Milpa Alta outside Mexico City, where he runs Calpulli Tecalco AC, a non-profit organization dedicated to the preservation of Nahua language and agriculture. He was the subject of a retrospective at Museo de Arte Contemporáneo de Oaxaca (2017). His work has been exhibited at MoMA PS1, New York (2018), FRAC des Pays de la Loire, France (2016); Parallel Oaxaca, Mexico (2016); Nottingham Contemporary, England (2015); the Biennial of the Americas, Denver, Colorado (2015); Museo Universitario del Chopo, Mexico
City, Mexico (2014); and SITE Santa Fe, New Mexico (2014).
Listen to Marfa Public Radio’s West Texas Talk interview with Beatriz Cortez and Fernando Palma Rodríguez on KRTS 93.5FM or via their online stream.
Candelilla, Coatlicue, and the Breathing Machine is made possible by the generous support of Kenneth Bauso; The Brown Foundation Inc.; City of Marfa; Fairfax Dorn & Marc Glimcher; Kristina & Jeff Fort; Lebermann Foundation; Virginia Lebermann & Family; George S. Loening; Max Mara; National Endowment for the Arts; Texas Commission of the Arts; the Ballroom Marfa Board of Trustees; the Ballroom Marfa International Surf Club; and Ballroom Marfa members.
In-kind support provided by Big Bend Brewing Co.; Building 98 & the International Woman’s Foundation; Sandra Harper, Eliza, Sophia & Hamilton Fish; Mikelle & Michael Kruger; Christy Miller; Jayson Seidman; SAVED Wines; Tequila Casa Dragones; and Tito’s Handmade Vodka.
Special thanks to Lalo Baeza, Yoseff Ben-Yehuda, Sondra Boone, Abby Boyd, Buró—Buró, Michael Camacho, Karla Canseco, Ross Cashiola, Vicente Celis, Young Chung, Brenden Cicoria, Commonwealth and Council, Jon Doe Davidson, Rowdy Dugan, Jake Eisenmann, Heidi Elliott, Jonah Emerson-Bell, Edgar Espinoza, David Fenster, Alejandra Fernández, Jim Fissel & Jim Martinez, Cuca Flores, Mona Garcia, François Ghebaly, Ginger Griffice, Kevin Guerrero, Tatiana Guerrero, Vanessa Guerrero, Mar Guevara, Asher Hartman, Zane Hayspell, House of Gaga, Matt Jones, Arthur Kaplan, Kibum Kim, Susan Kim, Raven Lu, Gabriela Magaña, Alex Marks, Jeff Matheis, Rob & Britt Mazurek, Faith Melgaard, Fernando Mesta, Jorge Munguía, Diana Nguyen, Jennifer Nicks, Elise Pepple, Susa Quinn, Carmen Rodríguez Meza, Ryan Rooney,Francisco Rosas,Isabel Sierra, Diana Simard, UNA Art Logistics, Gan Uyeda, Gory Smelley. And to our friends at Austin Art Services, the Big Bend Sentinel, The Chinati Foundation, Judd Foundation, and Marfa Public Radio.