'A quien corresponda' is an exhibition at the Kirkland Gallery at the Graduate School of Design at Harvard, which emerges as a call within another. Being aware of the scarcity of opportunities for exhibition and appreciation of design in Mexico, an open invitation extended to practices dedicated to architecture, design and / or art interested in showing their work in an area of 0.0588m2 (the area of one leaf letter) within the space of the gallery, taking advantage of the opportunity to appropriate the gallery in a period of two weeks.
The call offers a physical space abroad, which questions exclusivity as a tool for legitimizing creative disciplines, as well as the role of institutions and their validation of trajectories and opportunities. Convinced of the importance of having a larger body of participants, discourse and work of professionals not directly related to the university, the intention of the call was to promote its dissemination and outreach reach, making it reach as many stakeholders and possible participants.
The objective of this call is to initiate horizontal and global correspondences that encourage and enrich creative discourses in Mexico. The value of this meeting is in the exchange of ideas in the process, coupled with the fact of belonging to a global community that transcends the barriers and limitations of language, ideology, context, religion, and space. We believe that exhibiting architecture and design in 2019 should be synonymous with inclusion and diversity, exchange, openness, and informed, relevant and varied themes. Of hope, illusion and celebration. It must question the value of authorship and originality, the role of institutions and curators, and the limits of discipline. It must also reiterate the social and professional role of the discipline, its capacity and its effects; reaffirm, reconquer, reclaim its scope.
- Call for “A Quien Corresponda:” Cambridge, Massachusetts. February 26th, 2019
This initiative takes as a direct reference the Postal Art movement, in which openness and inclusion are essential and where there are no registration fees, juries or censorship. For this reason, the participants sent their proposals by express parcel service, and all the received packages were displayed and later they will be archived in a digital compendium of public access.
The museography follows the order of the registration numbers, accompanied by a compendium of descriptive letters (also on a letter page) for each piece, as well as a projection with photographs of all the packages that were received, before being opened.
We are a young practice and we are interested in exploration and experimentation at the service of a discourse that begins to evolve but that is still far from becoming something concrete and mature. That is why creating a piece that represents us, in that sense, is an important challenge. However, if there is any common criterion with which we approach any project, it is that the challenges feed the design process. For us it is important that the limitations and restrictions of the project are reflected in the final product. In this case, the call gives a three-dimensional space of exposure, limiting the dimensions of delivery to a letter-size envelope (two-dimensional). Based on this, we decided to perform a representation exercise. The subject of the exercise is our own workspace in Mexico City.
- PALMA
The exhibition, inaugurated on April 19, 2019, houses the work of 137 practices, of the 203 registered participants. For more information visit the website aquiencorresponda.xyz and the Instagram account @aquiencorresponda_.
