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CONTENTS
pg.3
AFTER THE BATTLE
exhibition text written by french writter
Lucile Moal
pg.7
WORKS
complete catalogue from the exhibition
pg.4
EXHIBITION IMAGES
photographic record of the exhibition
pg.10
RESUME
artist resume
R E I S E | P A G E 2

AFTER
THE
BATTLE.
The visitor is received in a cold tonal lobby,
which retains in its implacable atmosphere
the last resistances of the outside world.
Under the raw light, skins are stored and
displayed methodically on raw, mobile
fabrics, without frames or lecterns. As the
only support, some sharpened spear tips
and the patterns that stiffly structure the
trophies that float at the mercy of the
discreet hammering of the steps of
passers-by.
The first fruits of sacrifice.
In a suspended time, the temple solemnly
asks the spectator to stop for a moment,
warning him of the ritual of step that
seems to be prepared.
In some of its volumes, the apparent tissue
is revealed explicitly. Worked with
precision, excavated from its shiny
textures and scales. Letting you see the
virginity of the matt tone. Skin.
In others, the contours chiselled under a
serial process, almost dogmatic, gradually
dissolve. Finishing by sinking into the
shapes of variable geometries. Parallel
lines, ordered in a calculated voltage.
Austere crosses, like vestiges Valmer, on
the defensive. Uneven, more abstract, free
stripes. Until the telluric explosion of the
three colors that give the shot of grace.
The obsidian black and its volcanic origins,
which contrasts with the immaculate
white, symbol par excellence of the
vertiginous ambivalence. And the green
jungle, deep, that hides, perhaps, the
painful healing and the slow return
towards the essentials.
Skinning to be reborn: The road to the
house of the earth.
With El tiempo Natural de la Guerra (The
Natural Time of War), Francisco Muñoz
mobilizes, once again, the topic of violence
that pervades every one of his works.
Through the iconic figure of Xipe-Totec,
(Our Lord Desollado), Muñoz seeks to
change the focus, staging a rationalized
and controlled brutality, inherent in the
natural cycles that allow access to the so
longed-for rebirth. This work constitutes,
perhaps, one of the most intimate of the
trajectory of the artist, establishing a more
assumed connection with the terroir that
was always put at a distance.
Made between Mexico and France,
presented in their respective capitals, the
raw fabrics carry the stigmas of systematic
out-of-Atlantic pilgrimages. Reunited for
the first time in Monterrey, the pieces of
the collection dare, at last, to respond to
the echo of the native house.
- Lucile Moal

Skinned Vol. 6, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
Skinned Vol. 5, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
Skinned Vol. 4, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
R E I S E | P A G E 4

Skinned Vol. 2, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
Skinned Vol. 8, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
Skinned Vol. 10, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
R E I S E | P A G E 4

Skinned Vol. 9, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
Skinned Vol. 7, 2018
Acrylic, metal eyes
on raw cloth.
150 x 150 cm
R E I S E | P A G E 4