Ebullición @KRAS



pres­ents the work of twen­ty-six ar­tists ba­sed in or as­so­cia­ted with Me­xi­co City for the first time in Vi­en­na.

The show brings a selec­tion of ac­tive agents in the field, from ar­tists to mu­sic collec­tives, to map out the extent of this di­ver­se net­work. Crea­ting their own struc­tu­res outs­ide of in­siti­tu­tio­na­li­sed for­mats, ar­tists and crea­ti­ves have found that mu­tu­al re­co­gni­ti­on and ge­ne­ra­tio­nal sup­port are the most ef­fec­tive ways of achie­ving vi­si­bi­li­ty and


In a place with a po­la­ri­zed and un­sta­ble so­cio-eco­no­mi­cal base, and du­ring times of at­ten­ti­on as cur­ren­cy, true co­ope­ra­ti­on ap­pears as the only way that the in­de­pen­dent parts can be­ne­fit from the force of the who­le. In the last few ye­ars Me­xi­co City has ex­pe­ri­en­ced an in­ter­na­tio­nal­ly ac­clai­med boom as a re­sult of a mul­ti-fa­ce­ted net of fac­tors. Ba­lan­cing a de­li­ca­te equi­li­bri­um of safe­ty for outs­iders, and a vio­lent­ly cor­rupt rea­li­ty, the mega city is on its way of be­co­m­ing a world ca­pi­tal for cul­tu­re and tou­rism, mir­ro­ring suc­cess­ful ca­pi­ta­list mo­dels but - li­te­r­al­ly - built on shaky ground.

In­te­gra­ting the aff­lu­ence and in­flu­ence of in­ter­na­tio­na­lism through the wa­ves of ar­tists and young pro­fes­sio­nals floa­ting in and out of Me­xi­co as one very spe­ci­fic type of glo­bal tou­rism, the crea­ti­ve sce­ne in the city looks very dif­fe­rent now than it did in the 90s. The ques­ti­on is, how does a par­ti­cu­lar idio­syn­cra­sy sur­vi­ve pro­ces­ses of exo­ti­ciza­t­i­on in the mar­ket of iden­ti­ties, whi­le thri­ving in a world of new de­man­ds?

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