Ricardo Cuevas (b. 1978, Mexico City)
Using text, books, and photography, Cuevas explores cultural identity and the potential for misunderstanding and fragmentation. He has participated in several international group exhibitions including 10 Mexican Photographers: A Select End-of-the-Century Generation (Lehigh University Art Gallery, Pennsylvania), Never Odd or Even (Marres Center for Contemporary Art, Revolver Archive F, Aktuell Kunst, Germany), Master Humprey’s Clock (Stanley Brouwn pavilion, de Appel Arts Centre, Amsterdam, Netherlands), Das phantastische Geheimnis des exotishen Universums(Galerie Ostermeier, Berlin), and Third Guangzhou Triennial in China. In 2005 he presented Beyond Love and Democracy, a solo exhibition at Gallery 44 (Toronto). In 2007, Cuevas was awarded a residency at the International Studio and Curatorial Program (ISCP) in New York, NY.
Máximo González (b. Paraná, Entre Ríos, Argentina)
Born in Argentina, and currently living and working Mexico City, González is best known for his murals and collages created from decommissioned currency. He received a Teaching Degree in Visual Arts from the Institute of Art Josefina Contte in Corrientes, Argentina and from 1992 to 1995 worked with Arte-Ahora to create murals and monuments in public spaces across Entre Ríos, Corrientes, and Formosa, Argentina. In Córdoba he established Apeyron, a center for art experimentation and research, and furthered his studies at Universidad del Sur in Buenos Aires with Mónica Girón and the art critic Julio Sánchez. Gónzalez moved to Mexico City in 2003. He has participated in more than 30 solo exhibitions of his work, including Tartar: my arm is a sling, Valle Ortí Gallery, Valencia; Something like an answer to something, Artane gallery, Istanbul; Dream at DFMC office, Chicago; Greenhouse effect at Art&Idea, Mexico City; and Thesis of the unexplainableat Cambá-Cuá Park Cultural Center, Corrientes; and his work has been included in more than 80 group exhibitions internationally. Most notably, he showed “Where have all the flowers gone?” as part of the Poetics of the handmade exhibition at MOCA Los Angeles in 2007. Along with partner Ivan Buenader, he is the co-founder of the Changarrito Project, which began as a reaction to the absence of emerging Mexican artists at ARCOmadrid 2005 in Spain. Together they have amassed a permanent collection of more than 500 works from this effort, a selection of which are on view inTransitios.
Jose Antonio Vega Macotela (b. 1980, Mexico City)
Living and working in Mexico City and Amsterdam, Macotela studied at National School of Fine Arts, Mexico City (2004); Multimedia Seminary, Mexico City (2008) and at the Rijksakademie van Beeldende Kunsten, Ámsterdam (2011). The recipient of grant awards from the Cisneros Fontanals Art Foundation and the Mexican National Fund for Culture and Arts, he has had solo exhibitions at Sala de Arte Público Siqueiros, Mexico City (2008) and Casa Vecina, Mexico City (2009). His work was included in the 29th São Paulo Biennial (2010) and The New Museum’s 2012 triennial, The Ungovernables.
Miguel Monroy (b. 1975, Mexico City)
Monroy’s practice involves sculpture, installation, video, and photography to observe the absurdity of organized systems. A Young Creators fellow of the National Fund for Culture and the Arts (FONCA) program in 2003, 2007 and 2011, he is the recipient of a grant from La Colección/Fundación Jumex for his Transporte transportado artist book, which means of highlights military transport. His work has been included in solo and group exhibitions worldwide, includingCanon at Museo Experimental El Eco in Mexico City in 2012; In other words at NGBK + Kunstraum Kreuzberg, Berlin Germany in 2012; El horizonte del topo at Centre for Fine Arts in Brussels Belgium in 2010; Aftermath at Taka Ishii Gallery in Kyoto Japan in 2010; One foot apart at Leme Gallery in Sao Paulo, Brazil in 2009; Hecho en casa at the Museum of Modern Art, Mexico City in 2009; and in Declaraciones at El Museo de Arte Reina Sofia in Madrid, Spain in 2005 among others.