PROYECTOSMONCLOVA is a contemporary art gallery based in Mexico City that focuses on facilitating dialogues between Mexican and international artists from different generations such as: Eduardo Terrazas, Fred Sandback, Martin Soto Climent, Josephine Meckseper, Tercerunquinto, Helen Escobedo and Chantal Peñalosa among others.

Established in 2005, the gallery’s program has evolved into one of the most important forums for contemporary art in Mexico.

In addition to the exhibition program the gallery publishes books and exhibition catalogues. Recent titles include: Restoration of a Mural Painting. Tercerunquinto 2000-2015Robert C. Morgan. Works 1967-2017The Properties of Light. Luis Barragán-Fred Sandback (forthcoming). Exhibition highlights include: Caramel Huysmans. Martin Soto Climent (2015); TRUE STORY, collective show curated by Michel Blancsubé (2015); The Properties of Light. Fred Sandback (2016); dre omins. Andreas Slominski (2016); Doble fondo. Tercerunquinto (2017); Concept and Painting. Robert C. Morgan (2017); and the upcoming Josephine Meckseper (2017).


Colima 55 Roma Norte
Mexico City 06700
+52 (55) 5525 9715
+52 (55) 4754 3546







Gabriel de la Mora




Curated by Michel Blancsubé
Eduardo Terrazas

by Michel Blancsubé

Nothing is new, neither is anything old. (Robert Smithson, 1967)

The works on show here are for the most part drawings made up of horizontals, verticals, diagonals, and sometime even curves, mapping areas that are often square and outlining multicolored, unlikely geometrical territories.

Two series confront each other: one in exponential expansion, the other organic; one reasonable and coldly logical, the other random and deliciously capricious. In a seemingly limitless interplay of combinations, Eduardo Terrazas explores the possibilities provided by compasses, rulers, acrylic paint and wool. Ahead of its time in many ways, his oeuvre—largely given shape during the 1970s—abundantly prefigures the paths taken by younger artists since then. It should be pointed out that he has long been a globetrotter—since well before art nomadics became a religion—and that he was quick to grasp the creative potential of Mexico’s streets. Inspired by art movements seen and absorbed during his travels abroad, his work is very much a part of what the 1960s were fomenting. While there are patent influences from Argentinian concreto, Brazilian neoconcreto and Op Art, he did not turn a deaf ear to the provocative siren song of mid-60s psychedelia—at the very least he produced his own version of its chromatic consequences.

One particular encounter would lead to symbiosis between these passions for the structural and the vernacular: in 1971 Eduardo Terrazas began working with Santos Motoaaopohua de la Torre de Santiago, and over a period of four years they produced an extensive series of colorful geometrical compositions using wool fixed to wooden boards with Campeche wax.

Resurfacing unpredictably and at irregular intervals, the Eduardo Terrazas oeuvre makes light of the demands of time.