For this new edition of ZONAMACO, and following Bernardo Mosqueira‘s new theme: “gender disobedience and the imagination of radical politics”, Galerie Eric Mouchet has decided to bring together two artists who question the codes of heteronormative sexuality and patriarchal society: American artist Wells Chandler (born in 1985) and Mexican artist Romeo Gómez López (born in 1991). Aesthetically very different, both use humor and colorful cultural references to propose new politically committed queer utopias.
With tenderness and admiration, Wells Chandler returns to major works of art history and reinterprets them in a contemporary reading through the prism of intersectional struggles. He disrupts references and mixes models, simply and joyfully, but without losing sight of current issues and the struggle for greater acceptance of marginalized minorities. For ZONAMACO, we present one of his latest works, shown at his Paris exhibition, “Feminist Bird Club Presents: Luncheon On My Ass”, as an (ir)reverence to Manet’s “Déjeuner sur l’herbe”. In this gathering, no longer bored young naked women at the center of a conversation between cis-het men wearing frock coats, but a new social world populated by multi-gender frogs, flowers, hallucinogenic mushrooms and cosmic goddesses.
In the occasion of its second participation to ZONAMACO, Galerie Eric Mouchet will also seal a first collaboration with artist Romeo Gómez López. This young Mexican artist uses elements of popular- and mass cultures, such as religion, politics and science fiction, to criticize the contemporary art scene’s conservatism. His work challenges notions of systematic cis-gender heterosexuality in the arts, using humor and a pornographic imagination to show resilient alternatives. He focuses on libidinal values and their provocative power as generators of sensitivity and triggers of reaction.
For ZONAMACO, Romeo Gómez López has specially designed a new global installation, a resolutely queer work borrowing from both Mexico’s history, and societal and political issues. This installation explores the inequality that reigns in this touristic El Dorado, wide open to gringos and whitexicans to satisfy their cultural voyeurism, but where travel outside their country is restricted to natives; an uneven right to mobility, which currently deeply undermines the Mexican society.