Contemporary fashion runway becomes a choreography of calculated perfection, a scenographic apparatus in which every trace of production, contingency, or labor is systematically erased to sustain the fiction of a total image.
Embodied Garments proposes an interruption of this visual economy by shifting the backstage to the center of the scene and reinscribing the process of production as exhibition material. By opening to the public what has historically remained concealed fittings, styling, waiting, error, improvisation, and negotiation between bodies and techniques; the project destabilizes the spectacular architecture of fashion and transforms image making into the event itself.
Fashion ceases to operate as a finished surface and emerges instead as embodied process; an aesthetic machinery exposed in real time.
Tuesday, May 5 — 7:00 PM
By RSVP only
L Ξ Δ Η
Emerging from the lineage of kinetic and optical art shaped by masters like Cruz Diez and Rafael Soto, Raúl Cardozo’s practice situates itself within a perceptual tradition that dissolves the boundary between object and observer.
A multidisciplinary artist working within Op Art and kinetic exploration, Cardozo investigates movement not as a fixed phenomenon, but as an ephemeral condition activated through vision drawing from the Moiré effect, his works generate unstable visual fields vibrating thresholds where form collapses into frequency.
These compositions do not exist statically; they unfold in real time, contingent upon the viewer’s position, attention, and sensory openness. In an age defined by acceleration and immediacy, Cardozo resists passive consumption; his work demands duration and invites the eye to slow down, to enter a state of visual perceptual trance.
Elizabeth Silva is a Mexican designer who turns fashion into an emotional and introspective language, where contrast becomes identity trough sculptural silhouettes, dramatic textures, and a refined palette, her work explores the tension between fragility and strength, control and release, shadow and light.
Feathers, glossy surfaces, and sheer layers extend the body, blurring the line between protection and exposure, each piece reflects an inner landscape, where asymmetry and volume express deeply personal states.
Her work opens a quiet dialogue, where beauty emerges from contradiction and fashion becomes a space for emotional truth.
A night to feel beyond the senses.
Multidisciplinary visual artist @sofiatormenta presents Anhedonia in company of @durand_rafael , a performance where steel ceases to be a surface and becomes a living vibration a language not meant to be seen, just experienced through the body.
In dialogue, chef Elena Sors @chefsors leads a tasting of the emblematic French @kaviari_paris caviar, where each pearl bursts into an intimate, ephemeral resonance.
Sound and taste, impact and delicacy & a shared question running through it all: what does it truly mean to perceive?
📍Hamburgo 182
7 PM
More Info & pricing by DM
Intimate seating. RSPV
Visionary artist far ahead of his time born in Florence in 1936 and later naturalized in Mexico, @pedrofriedeberg became one of the most iconic figures of surrealist and fantastical art in Latin America. His work blends architecture, symbolism, and intricate geometric compositions, often exploring the absurd, the mystical, and the playful boundaries between design and fine art.
At our gallery, we had the honor of presenting one of the few collaborations created during the master’s lifetime, where Friedeberg joined forces with designer Ayala in a unique dialogue between two disciplines: fashion and art.
'Les Foulards Surréalistes', exhibition transformed Friedeberg’s celebrated lithographs into wearable pieces, merging artistic imagination with textile design.
This collaboration stands as a testament to Friedeberg’s limitless creativity an artist who constantly challenged conventions and expanded the possibilities of how art could live, move, and exist in the world. Rest in peace (1936-2026)
Spanish artist @polagusti based in Mexico City has built a practice around solitude, architecture, and spiritual symbolism. Working primarily with black ceramic and raw wood, he became known for sculptural chairs and altar-like structures that subvert functionality, proposing instead gestures of mourning, contemplation, and inner ritual.
In his recent transition to aluminum, without abandoning its metaphysical core Agustí refines his language of silence. Reflection replaces mass, and the void becomes central an active space for projection, memory, and reverence.
This material evolution marks not a rupture, but a continuation: a movement from earthbound ritual toward a more atmospheric, light-infused form of remembrance, quiet instruments that awaken a heightened sense of human presence and consciousness.
Pedro Lollett works at the intersection of fashion, image, and emerging technologies, where intuition enters into dialogue with code and authorship becomes a fluid territory.
From publishing in Vogue México to navigating global fashion weeks such as NYFW, MBFWMX, and Colombiamoda; his trajectory is shaped by a constant negotiation between visibility, identity, and experimentation in a fully digital landscape approaching artificial intelligence not merely as a tool, but as a symbolic language and creative agent one capable of reshaping perception, desire, and visual narrative.
Together with Cristian Baena, was invited as a guest of honor to our first talk on artificial intelligence, 'The Machine as Medium, the Self as Interpreter of Chaos'. Their participation embodies key questions within our curatorial axis: how meaning is co-produced with machines, how technology can expand rather than replace human sensitivity, and how new forms of authorship and expression emerge through a critical yet poetic lens, the conversation framed creation as an act of balance learning how to inhabit visibility without losing oneself, and allowing chaos to become a space for resonance and connection.
Osla is a Mexico based design studio focused on creating essential, honest, and longlasting objects. Their work explores the relationship between form, function, and time, resulting in pieces that resist trends and privilege clarity over spectacle.
Silla S1 is the first outcome of this exploration: a lightweight yet solid metal structure that reveals its own logic, construction, and use rather than representing technology, the piece embodies its effects precision, optimization, and systems that quietly shape our everyday interactions.
Presented within WAWDITWITMD? S1 enters the exhibition as a non-human participant that supports, conditions, and modulates the human body, expanding the conversation around affect, material presence, and the co-production of experience.
A territory where the image does not function as mere documentation, but as a device for interrogation @ivanaguirrefotografo experience photography as a space of friction between the visible and the absent, the intimate and the political, the human and the structures that traverse it through analog processes, installation, and fragmented narratives.
Although Aguirre’s practice does not explicitly originate from digital technologies, it engages critically with the logics proposed by the exhibition: systems that operate beyond human will, traversing bodies and modulating perception, desire, and relationality.
Within this intersection, photography is no longer presented as a static surface, but as a relational agent that connects memories, bodies, and territories. Aguirre’s works reveal how affects are not exclusively human, but emerge from complex assemblages in which images, spaces, histories, and technologies analog or digital participate in the production of meaning.
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Defined by a constant exploration of material hybridity and a desire to assign new meanings to familiar forms, @danielorozcoestudio work emerges from an intuitive dialogue with materials, where texture, weight, and imperfection become central to the construction of meaning.
Through processes of experimentation and reuse, Orozco transforms raw materials and everyday objects into singular pieces that operate simultaneously as functional forms and sculptural propositions the works presented blur the boundaries between object, sculpture, and environment, reinterpreting the everyday through a language shaped by hybridity, intuition, and transformation.
By situating material practice within a field of co-produced sensibilities, the exhibition proposes a space where the natural and the artificial, the functional and the emotional, converge.
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@serenacreciente is the evolving body of work by artist and creative director and designer Samantha Lomelín, where sculpture, experimental fashion, ritual practice, and digital sensibility converge; shaped by memory, technology, desire, and non-human forces.
Through sculptural garments, relic-like objects, and performative gestures, Serena Creciente proposes the body as an altar an activated archive where affect, fragmentation, and intention coalesce. Within this framework, the digital is not treated as a tool, but as an interrogative logic that reshapes perception and affect that operates beyond representation, engaging systems of response that exceed the human and actively participate in the production of meaning.
This is not fashion as industry, but as offering a living archive of the sacred, the incomplete, and the continuously becoming.
Through a sustained attention to intensity and discomfort @aliona.___.pankina born in Moscow and naturalized Mexican explores how cultural processes are inscribed in the flesh, while probing possibilities of escape, overflow, and the reconfiguration of human experience. Rather than producing objects, her work activates situations in which the viewer’s body becomes implicated, affected, and displaced from habitual modes of perception.
Situated within a tension between biopolitical, technological, and cultural forms of control and that which resists being fully captured by them, her work investigates how contemporary subjectivity is shaped and unsettled.
In the context of this exhibition and her participation in #ARTWEEK26 Pankina presents the sound installation Aracnatril. (Dis)articulating Subjection, a work that operates not as an isolated object but as a manifestation of an ongoing inquiry into how digital, material, and symbolic technologies mediate how we feel, relate, and inhabit the world.
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