As part of the festivities of Our Lady of Pilar, Patroness of the Spanish Civil Guard, the Kingdom of Aragon, and the City of Zaragoza, October 12 of present, opens at the General Expenses gallery in Mexico City La señorita Eugenesia y otros cuentos, a solo exhibition by Wendy Cabrera Rubio (1993), Mexican artist. This is the first solo exhibition of the artist since her show in Tacoma, Washington in early 2024 also curated by Jairo Hoyos Galvis; where she collaborates with artists Patricia Rubio, Mauricio Guillén, Eugenia Martínez, Silvestre Borgatello, Clemente Castor, Sbethlanna González, Antonio Ponce, and José Luis Cuevas.

La señorita Eugenesia y otros cuentos, a title taken from the 1919 Mexican pedagogical publication, consists of a short film, a hand-colored photographic series, two ceramic vases, a large candle with the night sky of the dawn of October 12, 1492 embroidered in gold, a sausage boat and two hybrid pieces between photography and embroidery. This exhibition is part of and the culmination of a continuous artistic and curatorial work where all the pieces were produced by the artist ex-profeso and in parallel, collaborating with each participant.

Among the themes and tropes of this exhibition is, centrally, the photographic discipline and the paradox between its artisanal processes and its function as a principle of truth. This paradox allows the photographic discipline to thread art with science; a central phenomenon in the artist’s reflection and whose ethical, epistemological, and aesthetic implications are developed in the different pieces of the exhibition. The textile medium and embroidery and appliqué techniques, constants in Cabrera Rubio’s production, are taken up again here, both to expose the blurred limits between the regimes in which the image unfolds and to embroider finely on the pre-financial economy.

La señorita Eugenesia y otros cuentos is a playful visual and dreamlike stroll through some of the most lurid contemporary social and political paths. Like an obstinate Little Red Riding Hood, Cabrera Rubio does not stop in front of the indeterminate immensity of her own goals.

— Pablo Arredondo Vera