Scale Model of Non-Intelligibility
A 24-channel sound installation creates a system based on nodes of connection within a flexible structure made of light stands, steel bars, and adhesive tape. The installation builds an environment of multiple associations, reminding the viewer of encrypted languages. Sound travels through the steel axes from side to side, and audio created from handwriting with a sharp mental implement is overlaid with the moving sound of hi- speed data. An old form of communication is confronted with a new one, calling into question the extent to which the past steers the future. Sound exposes the materiality of the steel, a relationship that alludes to a symbiotic, infrastructural system. A parallel and ephemeral network composed of tape adheres to the steel axes, a juxtaposition of materials that highlights yet another coexisting infrastructure. The tape-threads merge with the metal volume into a wire-frame shape that allows the dissection of the object, emphasizing the analysis of infrastructural archaeology as a vehicle to think about the future.
Two Hispanic workers sweeping pieces of shattered mirror on the Laredo-Nuevo Laredo (US-Mexico) borderline, In the latter part of the video, a border patrol vehicle policing the shores of the Rio Grande shows up as the pick-up truck moves forward.
Map of a Twin Mind
Acting as a parasite volume interrupting the natural flow of the room, the double-sided mirror suggests a dichotomic reading of the environment. The reflections of the intrinsic vectorial elements intersecting with the mirrors build unreal visions of possible spaces. Using 16 independent transducers, each mirror—or panel—acts a sound source. In the installation sound is conceived as a set of vertexes and lines capable of moving in different trajectories, creating a metaphorical thread in which virtuality challenges perception by emulating a scratching behind the two faces of the volume. A dual dialogue suggests a binary reality in which the pristine and fragile aesthetic quality of mirrors engages with the reflection of the deteriorated walls of the building. Thus, the reflection of the viewer constitutes part of the work, acting as an aesthetic mechanism to open up a space for self-negotiation, in which reflection plays the role of a counterpart behind an artificial limit: a metaphorcial twin. The hardware used to make the installation is exposed to the viewer on one of the lower panels; alluding to the systematical operation of limits as human-made machinery for the growth of social dominant formations.
i35 shows a line made out of the natural flow of light coming from above and between the two sides of the Interstate-35 Highway. This highway crosses the U.S. from North to South, connecting Laredo, Texas with Nuevo Laredo, Tamaulipas. This is the No.1 inland-ground port in the US, with an average flow of twelve thousand eight-wheelers crossing the border every day, making it a crucial route for NAFTA.
Informed by the neoliberal dynamics that shape individuals to appreciate the conveniences of modern consumer networks, but at the same time encourage them to remain blind to the regular operations that support them, Reyes-Retana’s practice exposes encryption as a fundamental mechanism in the daily activities of large-scale infrastructures. As an artist working in the fields of sculpture, video, and sound installation, Reyes-Retana utilizes multi-track audio as a medium to create atmospheres of multiple associations that point out the ways we imagine, organize, and interact with encoded forms of language. By re-coding preconceived physical structures, his work emphasizes the analysis of infrastructural archaeology as a vehicle for speculating about the future.
Mexico City, b. 1984
MFA Studio Art Candidate (Sculpture + Extended Media), University of Texas at Austin, 2020
BA Graphic Design & Visual Communication , Centro de Diseño, Cine, y TV, Mexico City, 2008
2019-2020 College of Fine Arts Continuing Fellowship, University of Texas at Austin
2019-2020 The Graduate Continuing Bruton Fellowship, University of Texas at Austin
2018-2019 College of Fine Arts Diversity Recruitment Fellowship , University of Texas at Austin
2018-2020 Postgraduate Study Abroad Scholarship, Fonca-Conacyt, Mexico
2019 Materia Abierta (Mexico City, Mexico)
2017 Soma Summer (Mexico City, Mexico)
2009 Fabrica (Benetton Communication Research Center, Treviso, Italy)
2020 Casa Wabi (Oaxaca, Mexico)
Selected Solo Shows
2019 Map of a Twin Mind (OMR, Mexico City, Mexico)
2015 Monumental Movimiento (Salón ACME, Mexico City, Mexico)
Selected Group Shows
2019 It Grows Between (Efraín Lopez Gallery, Chicago, U.S.)
2019 Caldo de Piedra (Portátil, Chihuahua, Mexico)
2019 Masa (Masa, Mexico City, Mexico)
2019 Syllogisms of Construction (Studio Block M74, Mexico City, Mexico)
2018 Almost Solid Light (Paul Kazmin, New York City, U.S.)
2018 ReContructo | Rebuilding Mexico (Zuecca Project Space, Venice, Italy)
2016 Superstudio (Mutek, Mexico City, Mexico)
2019 Tamaulipas-Texas: Recognition of the No-Middle Ground (Bunker2 & Succsseful Press, Toronto, Canada)