René Serrano Rodriguez Blog

My Documentary  Photo serie  "A Ghost Story in Mineral de Pozos"   is  included in the next  2022 New York Latin American Art Triennial.   @nylaat_org https://nylaat.org/ The exhibition will be at  JVS Project Space Gallery  @ jvsprojectspace  in  #newyork from  September 29th to October 16th, 2022 The name of the works exhibited is "The Harvest" and is part of the serie: "A Ghost Story in Mineral de Pozos" Many called this place a Ghost Town...  #mineraldepozos  is located in a tranquil and bohemian zone, characterized by a semi desert landscape in  #guanajuato   #mexico Long time ago different nomadic indigenous groups like chichimecas, guachichiles, copuces guaxabanes and pames inhabit this lands. Little did they known that under their feet they could find veins of gold and silver In the XVII century. In the Colonial Period, the town was founded, with an emphasis in agricultural activities. However, onces the Santa Brígida mine was discovered, the fate

"Amy and the Criminals"  Mixed/Canvas 107 X 81 cms  Acquired by Tax Administration Service in CDMX, MX Catalog:  0867_2021 "The division bell" Mixed media / Paper. 61X46 cms Inclusion of New Works in the Federal Catalog A series of my recent works has recently been added to the country's federal catalog, a development that brings me immense satisfaction and, above all, I perceive it as a "magical honor." For me, this achievement acts as a sort of "time machine." The inclusion of these works in the national catalog not only gratifies me but also ensures traceability and easy access in the distant future. With advancements in search technologies, it's conceivable that a descendant, perhaps in the year 2935, could stumble upon my ideas and my unique representation of the present. This notion of art transcending time, allowing us to connect with the truths of people in other eras, latitudes, and perhaps, in the remote future, even other wo

  Punk Baroque *PBLTG0721 (The Three Graces) 250X150cms mix/canvas. 2021 SOLD I was raised in a religious tradition, then a fascination for the ancient religious iconography was so obvious. Since young, far from being interested in the Sunday liturgy mass, my gaze was focused on those painful madonnas of  European origins, the Mexican baroque, its exaggeration in the images, the omnipresent figure of the Virgin of  Guadalupe but also the rituals from the indigenous traditions. Later I lived and studied in central Europe for 5 years. I was so obsessed with the Medieval cathedrals, the art of “Fin de siècle,“ the icons and the ancient jewelry but also the  popular culture, the mix from the different cultures, races and different music styles in those cosmopolitan cities. At first glance it may seem opposite but if we see this mix of processes with the eyes of dialectic maybe we can find a  kind of a synthesis, maybe a mix between Pink Floyd,  J. S. Bach with Cumbias. In this research I s

  DJHH20. Mixed media/Canvas 250.5 X 149cms  2020 (SOLD) The Artistic Language: A Journey through Calligraphy and Symbols Why delve into calligraphy, manuscripts, signs, and scratches? The calligraphy I create serves as a form of "Glossolalia" — a unique expression that began to take shape when I was just 14. Back in high school, I found myself crafting logograms, signs, and doodles, initially spurred by a peculiar circumstance. Some classmates, hesitant to show their report cards to their parents, sought my help for my signatures, which, to them, resembled adult signatures. What began as a mischievous favor soon evolved into a genuine appreciation for conveying messages visually. At the age of 21, I found myself marked as an Immigrant/Migrant, navigating a new language and culture, relying on images for communication. Museums and galleries became my daily companions, and my communication, though not in French, began to take shape through the visual language of art. These art

I've been on the quest for this guitar for 23 years. Finally, with the support of my friend Juan Pablo, I have succeeded in reuniting with my old Diabla guitar — the Ibanez RG570 LR 1993, a model referred to in its time as the samurai, crafted and sold exclusively in Japanese territory.   The Story of My Red Guitar One might argue that I have never truly visited the United States. My encounters have been limited to brief layovers or the unexpected diversion of my Paris-bound flight to Miami due to a turbine failure, leading to an unexpected stay in a hotel for a couple of days. In 1993, my family, not accustomed to venturing so far, experienced a sudden burst of adventurous spirit. My father conceived the idea of spending a weekend in McAllen, TX. The journey, a pleasant one, unfolded by road from Morelia, Mich., to McAllen, TX. At the tender age of 16, the vast expanse of such a significant place, adorned with countless guitars, felt like a visit to another world.

I finally gave myself the opportunity to re-build the guitar that I named the Heyoka. Let me share the story... This guitar was my first electric guitar, a gift from my father when I was 14 or 15 years old. At that age, having such an instrument felt exhilarating, making one feel invincible. 30 years later, the guitar managed to survive. After numerous jams, falls, and impacts that, in the ecstasy and rage of that age, caused it to crash to the ground, it did not arrive intact, or perhaps only in parts until 2020. This year, as I delve back into musical notes and finally record some songs, I discovered a website where I could register copyright from home. This not only motivated me but also streamlined the bureaucratic process, even though it cost a little more; the value of time made it worthwhile. I acquired the missing pieces, and although the new paint wasn't to my liking initially, I reconsidered. Perhaps this guitar should function as a new instrument, not a regular gui