News
Ximena Garrido-Lecca’s “Demarcaciones Inversas” at Meridiano
25.03.2025
We are pleased to announce the exhibition of new work by Ximena Garrido-Lecca, “Demarcaciones Inversas (Reverse Demarcations)”.
Working with both natural and industrial materials, Mexico City–based Ximena Garrido-Lecca has for nearly two decades exhibited works that investigate Andean artisanal traditions and the ramifications of resource exploitation on Indigenous social groups in her native Peru. Her “Demarcaciones Inversas” (Reverse Demarcations) exhibition here revisits a 2018 project at Galerie Gisela Capitain in Cologne, taking on new meaning in the gallery’s contemplative architectural space, which is sited on the Oaxacan coast of Mexico. Featuring only three sculptural artworks (all 2025), this presentation dynamically interacts with Meridiano’s courtyard, leading to a rectangular room whose only light source is a skylight open to the elements.
The rectangular room offers two wall-based sculptures from her ongoing “Aleaciones con memoria de forma” (Shape Memory Alloys) series. The glistening diptych Realineaciones VI + VII (Realignments VI + VII) and the singular, visually vibrating Realineaciones VIII were woven from cut and quartered industrial copper piping: The former is woven in an Andean triangular water pattern referencing a woman while the latter is crafted in a zigzag motif symbolic of a river. Both pieces re-create bamboo-woven panels that displaced Andean highland migrants have used to claim land in the outskirts of Lima, while open-pit copper mining has often taken over those same highlands.
The room’s open ceiling provides natural light that changes the sculptures’ appearances throughout the day and in varied climatic conditions, while in the adjacent open court another type of sculpture acts like a sundial through its moving shadows. Sand-cast in copper from tree sticks scavenged in the nearby mountains, Transmutaciones—Composición IV (Transmutations—Composition IV) references the poles used by the migrants to hold up the walls of their precarious shelters, which eventually become more permanent. Oxidizing in the open, the works evoke the coveted copper’s pre-Columbian uses as tools or symbolic ornaments rather than today’s ubiquitous technological devices, marking the passage of time while nodding to the semiprecious metal’s history and contested present.
Source: https://www.artforum.com/events/paul-laster-ximena-garrido-lecca-meridiano-1234728845/
Working with both natural and industrial materials, Mexico City–based Ximena Garrido-Lecca has for nearly two decades exhibited works that investigate Andean artisanal traditions and the ramifications of resource exploitation on Indigenous social groups in her native Peru. Her “Demarcaciones Inversas” (Reverse Demarcations) exhibition here revisits a 2018 project at Galerie Gisela Capitain in Cologne, taking on new meaning in the gallery’s contemplative architectural space, which is sited on the Oaxacan coast of Mexico. Featuring only three sculptural artworks (all 2025), this presentation dynamically interacts with Meridiano’s courtyard, leading to a rectangular room whose only light source is a skylight open to the elements.
The rectangular room offers two wall-based sculptures from her ongoing “Aleaciones con memoria de forma” (Shape Memory Alloys) series. The glistening diptych Realineaciones VI + VII (Realignments VI + VII) and the singular, visually vibrating Realineaciones VIII were woven from cut and quartered industrial copper piping: The former is woven in an Andean triangular water pattern referencing a woman while the latter is crafted in a zigzag motif symbolic of a river. Both pieces re-create bamboo-woven panels that displaced Andean highland migrants have used to claim land in the outskirts of Lima, while open-pit copper mining has often taken over those same highlands.
The room’s open ceiling provides natural light that changes the sculptures’ appearances throughout the day and in varied climatic conditions, while in the adjacent open court another type of sculpture acts like a sundial through its moving shadows. Sand-cast in copper from tree sticks scavenged in the nearby mountains, Transmutaciones—Composición IV (Transmutations—Composition IV) references the poles used by the migrants to hold up the walls of their precarious shelters, which eventually become more permanent. Oxidizing in the open, the works evoke the coveted copper’s pre-Columbian uses as tools or symbolic ornaments rather than today’s ubiquitous technological devices, marking the passage of time while nodding to the semiprecious metal’s history and contested present.
Source: https://www.artforum.com/events/paul-laster-ximena-garrido-lecca-meridiano-1234728845/