April 27, 2017 - Americas Society - Erick Meyenberg: The wheel bears no resemblance to a leg
April 27, 2017

Americas Society

Erick Meyenberg, The wheel bears no resemblance to a leg (still), 2016. Video. Courtesy of the artist.

 

Erick Meyenberg: The wheel bears no resemblance to a leg
May 4–July 22, 2017

Opening and panel discussion: May 3, 7–9pm, with Erick Meyenberg, Gabriela Rangel, Lucía Sanromán, and Prof. Anna Indych-López

Americas Society
680 Park Avenue
New York, NY 10065
USA
Hours: Wednesday–Saturday 12–6pm

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Curated by Gabriela Rangel and Lucía Sanromán

The exhibition Erick Meyenberg: The wheel bears no resemblance to a leg is the artist’s first solo show in New York. The project is the end result of the artist’s collaboration with members of the high school marching band, Banda de Guerra Lobos, at the Colegio Hispanoamericano in Mexico City. The artist and the teenagers—together with teachers, curators, musicians, composers, choreographers, costume designers, and a video production team—co-created choreographies, musical scores, and a series of performances that took the band through some of the city’s most emblematic and politically marked sites: the Plaza de Tlatelolco, where striking university students clashed with the state in 1968; the Monumento a la Revolución, commemorating the Mexican Revolution of 1910; and the Forum Buenavista shopping center, symbolizing Mexico’s embeddedness in transnational capitalism. 

Meyenberg’s developed The wheel bears no resemblance to a leg (2016) over two years as a commission for inSite/Casa Gallina, the sixth edition of the public art project, inSite. The exhibition is co-organized by Americas Society and Yerba Buena Center for the Arts, San Francisco, and is curated by Americas Society’s Visual Arts Director and Chief Curator Gabriela Rangel and Yerba Buena Center for the Arts’ Visual Arts Director Lucía Sanromán.  

Composed of a three-channel projection, flags, a relief sculpture, and archival materials, The wheel bears no resemblance to a leg takes its enigmatic title from the 1917 prologue to Guillaume Apollinaire’s 1903 play Les mamelles de Tirésias (The Breasts of Tiresias). Meyenberg’s project translates these sources into a critical stance toward normative pedagogical structures—here taking the form of uniforms, discipline, education, gender, the state, and symbols of nationhood—and a conception of the “surreal” not as an evasion of reality, but as an invitation to surmount other realities. Culminating in a synesthetic experience, The wheel bears no resemblance to a leg suggests the complexities of Mexican modernity. 

The exhibition is accompanied by a forthcoming richly illustrated publication, which documents the process and performance of The wheel bears no resemblance to a leg and includes essays by Gabriela Rangel and Osvaldo Sánchez, as well as an interview with the artist by Lucía Sanromán.
 

Public programs

Opening and panel discussion: Erick Meyenberg, Gabriela Rangel, Lucía Sanromán, and Anna Indych-López
May 3, 7pm

Conversations in Colombia: Hans Ulrich Obrist interviews Miguel Ángel Rojas and María Fernanda Cardoso
May 5, 7pm

City Circuits: Talk with writers Francisco Goldman and Mónica de la Torre
May 16, 7pm

Guided tour
June 13, 7pm

Catalogue launch of Erick Meyenberg: The wheel bears no resemblance to a leg
Date to be announced


The exhibition Erick Meyenberg: The wheel bears no resemblance to a leg is organized by Americas Society and Yerba Buena Center for the Arts, San Francisco. The presentation at Americas Society is made possible by the generous support of the Panta Rhea Foundation and Genomma Lab Internacional. This program is also supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council. Additional support comes from AMEXCID, the Consulate General of Mexico, the Mexican Cultural Institute of New York, and the Rockefeller Brothers Fund. 

The video piece The wheel bears no resemblance to a leg was commissioned by inSite/Casa Gallina, 2014–16, and curated by Osvaldo Sánchez and Josefa Ortega. The production in Mexico City was made possible through the generous support of Cámara de Diputados (México), Secretaría de Cultura (México), and Fundación Jumex Arte Contemporáneo.

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