Mexico City's Laboratorio Arte Alameda (LAA) has reopened after a long-awaited restoration, transforming its focus into an experimental art laboratory. The museum, housed in a 16th-century convent, showcases a unique project by artist Pablo Rasgado, titled Pentimento, which explores the intersection of restoration and artistic creation. Rasgado's work delves into the material history of the building, using restoration techniques and debris to create a thought-provoking exhibition.
The restoration itself was a challenging endeavor, addressing earthquake damage, water infiltration, and the removal of invasive plant species. The LAA's curatorial team saw this process as an opportunity to reframe the museum's purpose, emphasizing artistic creation and exploration of the building's history. Rasgado's involvement was a perfect fit, as his practice focuses on material history and large-scale projects.
One of the key elements of Pentimento is the concept of pentimento, derived from the Italian word for 'repentance'. This term refers to changes made during the painting process that become visible over time. Rasgado expanded this idea by creating fictitious pentimenti over digital facsimiles of colonial paintings, simulating the original pieces' technique and age. This technique allows him to merge fiction with fact, expanding narratives and incorporating elements of the building's history.
The exhibition features a variety of pentimenti, including historical tensions and abstract color explorations. One notable example is a reproduction of Francisco Antonio Vallejo's painting, Glorificación de la Inmaculada, with the sitters' faces replaced by pre-Hispanic figures, symbolizing syncretism. Rasgado's work invites viewers to draw their own conclusions, rather than offering a direct critique.
Additionally, the restoration project included archaeological reinterpretations of pre-Hispanic times, revealing debris and mouldings. These vestiges create a dialogue with Rasgado's pentimenti, opening spaces of memory. The artist also crafted two benches from restoration debris and resin, offering a contemplative space within the exhibition.
The towering walls of the building played a significant role in the project, with Rasgado guiding restorers to uncover layers of paint from different historical eras. This resulted in a unique abstraction, revealing layered timelines. Rasgado applied images from his studio onto the museum walls, further blurring the lines between historic layers and artistic interventions.
The artist's project is not static, and he plans to alter his work in August, adding new images and performances. However, the restoration job is not entirely complete, as challenges such as water infiltration and the deterioration of the bell tower remain. Despite these ongoing issues, Pentimento marks a significant chapter for LAA, turning the building's restoration into an archive, a medium, and a space for reflection.
