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@dianaepr

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New Mexico, diciembre 2025.
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BOCAL | experimentación, cera y joyas. Taller en @_jo_hs el pasado 2 de Agosto, CDMX. Créditos fotográfico: @asfemat See you soon, 🤍. Nuevas fechas abiertas por venir.
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Opening Thursday, June 20, from 5-9 pm at our gallery in Mexico City: “5 Años Después”. MASA is delighted to present an exhibition of works by twenty-six artists and designers, all of whom have, in profound and reverberating ways, been critical to the existence of MASA since the inaugural exhibition in Mexico City in February 2019. We hope you can join us! For inquiries, please contact info@mmaassaa.com #masagaleria #5anosdespues
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Opening today from 4-8pm: “Al Amigo Que No Me Salvó La Vida: Pinturas Mexicanas 1976-1991,” curated with MASA’s Curator-at-Large, Su Wu. On view Adolfo Riestra “Bañista”, 1989 Acrylic on canvas 160 x 140 x 3 cm (63 x 55 1/8 x 1 1/8 inches) Adolfo Riestra (b. Tepic, Nayarit, 1944 – d. Mexico City, 1989) was a Mexican artist known for his exploration of diverse elements of masculinity. Across ceramics, painting, and photographic collage, as well as in copious diaries, Riestra created a personal pastiche of images and clichés from popular culture, particularly sports and opera, and of his friends, family, and lovers, captured with bracing candor and immediacy. Trained as a lawyer, Riestra moved to San Francisco, California in the late 1960s, and then to New York, where he immersed himself in the art scene and graphics workshops. He returned to Mexico and passed away in 1989, the day after the opening of a solo exhibition at OMR Gallery. Notable solo exhibitions include “Adolfo Riestra: Dibujante, pintor y escultor,” Museo de Arte Contemporáneo (1998, Monterrey); “Adolfo Riestra: El objeto de la percepción,” Universidad de Guanajuato (2000, Guanajuato); and “Última Decada, 1981-1989,” Universidad de las Américas (2003, Puebla). For inquires info@mmaassaa.com ©Archivo Adolfo Riestra; Courtesy of Archivo Adolfo Riestra, Mexico City. Photo: Gustavo García-Villa.
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Opening this Thursday, April 11, from 4-8pm at our gallery in Mexico City: “Al Amigo Que No Me Salvó La Vida: Pinturas Mexicanas 1978-1992” curated by Su Wu. With works by Adolfo Riestra, Francisco Toledo, Georgina Quintana, Germán Venegas, Julio Galán, Nahum B. Zenil, and Roberto Turnbull. MASA presents a revisitation of 1980s Mexican painting, centering work – some not previously on view this century – from artists who hovered between sincerity and provocation in meditations on devotion, melancholy, and bodily function. Rather than a regional variant of postmodernism, here the effort of confession is presented as a spiritual and aesthetic challenge in the face of political, tectonic, and existential crises. The exhibition investigates in defiant materiality a tenderness towards the visceral, and the anatomization of observation and sensation that lends itself to both eroticization and revelation. As the era’s leading Mexican critic Teresa del Conde (1938-2017) wrote, these are works that “allow us to apprehend with a certain irony the aesthetic sides of very serious things: beliefs, vices, childhood, sexuality, and what awaits towards the end.” With special thanks to Proyectos Monclova, Le Laboratoire, Galeria OMR, Galeria de Arte Mexicano, Francisco Berzunza, Archivo Adolfo Riestra, and Collecíon M. Jasso, Madrid. For inquires info@mmaassaa.com
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Continuamos presentando a lxs artistas de «Yo sé que te acordarás». Diana Padilla Ríos CDMX, México, 1990 La obra de Diana Padilla Ríos se sumerge en los archivos clínicos de hospitales psiquiátricos del siglo XX, explorando temas profundos sobre la perspectiva histórica y política de la salud mental y sus implicaciones sociales. La artista prefiere la pintura como su medio principal, a través del cual invoca preguntas y destapa la problemática del sector de la salud mental, establecida como un sistema de opresión. Con una formación en artes visuales del Santa Fe University of Art and Design y un posgrado en Curaduría de la Zürcher Hochschule der Künste, Diana Padilla ha construido una trayectoria diversa. Trabajó en kurimanzutto, ha participado en proyectos curatoriales independientes y se dedica a la gestión cultural. Vive y trabaja en la Ciudad de México. ——— Encuentra la obra de Diana Padilla Ríos y otrxs artistas de «Yo sé que te acordarás» en el catálogo de la exposición en nuestra página web. ——— cultocolecta.com ——— @dianaepr
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Love your friends ❤️ . . . . . . #friends #friendship #love
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Ch.2 P33 A photo of @dianaepr Paintings. Part 1 of 2. The story of how @shantanusagara changed from ‘friend of a friend’ to a ‘best friend’ in 2 seconds. One day, casually my friend @casilva.mp4 asked me: “Do you want to drive to California with me and smuggle Diana’s paintings to Mexico?” “You couldn’t ship them?” I asked. “Apparently they don’t ship paintings internationally, it's illegal. So we can rent a truck, then load it with Diana’s paintings and drive to southern California near the borders. Where we will meet with her sister who will pick them up, drive them to Mexico and ship them to Diana,” Silva said. “Is this your next film plot idea?” I asked. “No I’m serious, gas and truck rental will be covered. We will stay one night and drive back the next day” “Of course I want to be part of this semi-smuggling artwork to Mexico road trip” I said. We both recently graduated, so we had nothing better to do. Next day at dawn, I’m outside waiting for Silva to pick me up with the truck. When he arrived, Shantanu was with him. “I hope you don’t mind, I invited Shantanu,” Silva said. He knows that I do mind. We’re so close that he knows I hate change of plans, late notices and people I don’t know very well. If I don’t know you, I don’t like you. That’s always the first stage for me. You’re unlikable until proven you’re likable. I get to know you, then I might like you or learn that I hate you. Silva knows all the above about me but one of his hobbies is to annoy me. So he invited the not-yet-graduated kiddo to our road trip. “Hey” Shantanu said. “No, I don't mind. It’s actually great that he can drive some of the 14 hours” I said. “I can’t drive, I don’t have a licence” Shantanu said. We secure the huge paintings, Silva sets up his music playlist. I get behind the wheel and we hit the road to the west before sunrise… To be continued. #thisisme #thisismej #writer #author #firstposts #nonfiction #journal #diary #millennial #friendship #roadtrip #roadtocalifornia #california #highway #mexico #newmexicotocalifornia #paintings #drive #ushighways #sandiego #recentgraduates #losangeles #bajacalifornia #art #shortstory #nonfiction #2015 #arizona
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Ch.2 P34 A photo of Diana’s painting channeling the Head of John the Baptist. Part 2 of 2 I knew that Diana had 2 younger sisters and I met them. But after years of knowing her, one day she tells me: “JJ, I have three older sisters too” “Imaginary sisters?” I replied. Back to us: me, Silva and Shantanu are in San Diego now. I will finally confirm one of her older sisters' existence when she picks up the paintings. But I can’t remember if we met her sister or how we gave her the paintings? I just remember we were in the hotel parking lot waiting for her. Then I’m standing behind the back of an empty truck. Trying to fix my sunglasses that I broke while off-loading the truck… So they're imaginary sisters. Mission accomplished. I’m eager to hit the road back early. But they wanted to check out LA’s beaches. “Come on! Shantanu wants to see ‘A Bro’,” Silva said. Shantanu’s definition of “A Bro” a Californian cliché of a beach boy, always shirtless and wearing beads necklace. Opens each sentence with “Bro…” I can’t say no to a comical wish like that. We saw some Bros. “Bro, can you be my friend?” Shantanu said to a walking Bro. We all laughed and hit the road. Silva suddenly got a fever. He laid down on the backseat, slept the entire trip back. It was fine by me since I was annoyed by his issue with opening windows each time I wanted to smoke. He said it disturbed his ears. Now I can smoke without the sound of his complains in my ears. But I wondered if his friend Shantanu drugged him to get the front seat. It got dark, we were on a highway somewhere in Arizona. My eyes are on the road but I’m getting sleepy. Shantanu continues to chat with me: “So I’m planning to make a short film this semester” “Nice, What’s it about?” I asked out of politeness while my eyes are on the road. He starts to explain his film story. I’m getting more sleepy, until he said: “It’s basically about a fish… that ends up committing sucide by flushing itself in the toilet” My eyes are no longer on the road, they’re on my best friends forever Shantanu. #thisisme #thisismej #writer #author #firstposts #friendship #roadtrip #california #highway #sandiego #losangeles #arizona #labeach
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✨Magical Wedding✨ #wedding #weddingday
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“Clase 1, Fig. 6 & 5” Diana E Padilla Ríos @dianaepr Esta pieza fue parte de la Expo Fogata de furia en colaboración con @islera.islera pieza en venta 🔥💸🔥💸🔥
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« Rabia en los labios, mareos en el corazón »   Francheska Alcántara, Fedra Gutiérrez, Diana Padilla, Joao Rietmann, Michelle Sáenz Burrola, Sara Serratos & agustine zegers Curated by Ivonne Dubois « Rabia en los labios, mareos en el corazón » explores the departures and returns from the global south to the global north, addressing and verbalizing a series of tensions that arise from these crossings. The work of the artists that take part of this exhibition functions as a series of pronouncements that testify the empowerment we mobilize when traveling and inhabiting the world as migrant and dissident bodies, as bodies that build gestures of resistance: to get together to exist, to get together to belong, to get together to be visible. How do we negotiate our presence in territories that exercise power over our legal existence through visas, residence permits, and asylum claims? How to inhabit and perform as bodies traversed by colonial pasts, infected by capitalist systems and violated by male domination and hetero-patriarchal norms? How do we develop mechanisms to deal with exoticization, precariousness, marginalization, racism and sexism? Big thank you to @lagosmx for the support on this project @francheskaalcantarastudio @pluriversxs.disidentes @dianaepr @jrietmann @chellesaenzburrola @ser_a_ratossara @agustinezegers
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