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

Caramel Huysmans



Martín Soto Climent

by Daniel Garza Usabiaga

This exhibition, in words of Martín Soto Climent, «consists of works that are the result of a dialogue between Caramel Huysmans and myself. Caramel stepped into my life after feeling a strong fascination for one of my works. We started a courtship over distance and now I invited Caramel to be the creator of this project… my show is an affective gesture, that narrates the story of this ideal love».

This particular piece that captivated Huysmans is an object manipulated by Martín Soto: «a red leather purse, displayed in an obscene way, suggesting a vulva». Similar to other works by the artist, the appearance of an everyday object is reconfigured by a minimal gesture. In this particular case, the manipulation is achieved by turning and playing with the folds of the object’s interior lining. Such an intervention then results in a destabilization of the object’s conventional reading, and radicalizes its potential for new meaning: The force of the fold eroticizes the everyday. Nevertheless, such reconfiguration represents only an instant. The object can be manipulated and subsequently returned to its original state, recovering its function as a purse. The ephemeral potential of such interventions is a constant feature in Soto Climent’s practice and it is precisely this aspect that reveals the artist’s refusal to understand and conceive art as a static, completed product.

The series of works on view, which conceptually originate from and comment on this distorted purse, oscillate between two-dimensionality and volume. Their surface is animal skin. Some of them have almost sculptural features and the incorporated folds evoke suggestive shapes alluding sexual reading just like the red purse. It is quite surprising that Caramel Huysmans shares her surname with the notable writer Joris-Karl Huysmans, who dedicated his outstanding novel (À rebours, 1884) to the inquiry of pleasures and tortures of the ideal aesthetic world. The works in this exhibition have a strong tactile character, given their fleshy exterior and their three-dimensional forms, but they also extend their presence onto our olfactory senses.  With their striking materiality and their folds—which seem to shape sexual organs, nipples, navels and skin marks—the objects reveal themselves as nude body fragments, confronting the spectator. The aesthetic elaboration of this series can provoke a profound attraction as well as a distancing aversion at the same time; a contradictory relationship investigated by Joris-Karl Huysmans in his novel. The pieces on view thus reveal a certain eroticism between two individuals that can be related to Hans Bellmer’s photograph Store in a Cool Place (1958), in which the artist tied up the body of his partner Unica Zürn, turning it into a formless mass divided by multiple folds.