DS Galerie is pleased to announce its participation, for the third consecutive year, in the Material Art Fair, which will take place in Mexico City from February 5 to 8, 2026. On this occasion, DS Galerie (Paris) partners with guadalajara90210 (CDMX, Guadalajara) to present a group show bringing together works by Denise Julieta (Mexico, 1992), Chavis Mármol (Mexico, 1984), and the artist duo Xolo Cuintle (born in 1995 in the United States and in 1996 in France). This collaborative project reflects the friendship between the two galleries as well as their shared curatorial approaches, attentive to site-specificity, architecture, and the circulation between European and Latin American art scenes.

Denise Julieta’s work is rooted in a sensitive and speculative exploration of nature, at the intersection of painting and graphic arts. Informed by biology and evolutionary theories, her practice develops biomorphic landscapes where organic forms, textures, and abstractions converge to evoke ecosystems that are both real and dreamlike. Through references to symbiosis, parasitism, and interspecies dynamics, she constructs a universe that dialogues between the primitive and the contemporary, invoking the memory of ancient flora and fauna—particularly from the Cambrian period—while revealing a strong attention to symmetry, harmony, and the intrinsic beauty of natural processes.

Chavis Mármol’s work explores, with sharp irony, the social, political, and cultural contradictions of the contemporary world. Through sculpture, installation, and often hybrid dispositifs, he diverts ordinary materials, popular symbols, and references to the global economy to place power, identity, and desire in tension. His work operates through collision—between humor and critique, craft and industry, collective beliefs and consumer logics. By employing satire as a plastic tool, Chavis Mármol creates ambiguous and unstable forms that question dominant narratives, exposing the mechanisms of alienation, domination, and spectacle that structure our current societies.

The duo Xolo Cuintle constructs deserted and fossilized scenes using concrete as a central material, treated as a fertile ground from which hybrid forms emerge. Ornamentation functions as a temporal marker, turning each sculpture into a fragment of a shared narrative that disrupts linear conceptions of time. Their speculative approach blends ancient mythologies with contemporary concerns, in which the dog—a recurring figure and psychopomp—embodies a symbolic threshold between life and death, nature and artifice.

The encounter between the works outlines a landscape shaped by organic forms, ornamental systems, and heterogeneous materialities, where a diffuse surrealism emerges from the friction between reality and imagination. Between pictorial surfaces, concrete and ceramic bas-reliefs, and hybrid volumes, the works question our relationship to the environment and to the living, placing nature and culture, organism and structure, in tension. Ornament—at once biological, mechanical, and symbolic—acts as a shared language revealing processes of transformation, circulation, and adaptation. From this confrontation emerges a sensitive and critical territory, where the organic becomes an unstable space, traversed by contemporary narratives and constantly shifting mental landscapes.