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

Denise Julieta investigates nature in a sensitive and speculative manner, at the intersection of painting and graphic arts. Drawing inspiration from biology and evolutionary theory, she develops biomorphic landscapes where organic forms, textures, and abstractions coexist to evoke ecosystems that are simultaneously real and dreamlike. Through references to symbiosis, parasitism, and interspecies dynamics, her universe oscillates between the primitive and the contemporary, evoking the memory of ancient fauna and flora, particularly from the Cambrian period, while revealing a pronounced attention to symmetry, harmony, and the intrinsic beauty of natural processes.
Chavis Mármol interrogates contemporary social, political, and cultural contradictions with sharp irony. Through sculpture, installation, and hybrid devices, he repurposes ordinary materials, popular symbols, and references to the global economy to create tension between power, identity, and desire. His approach operates by collision—between humor and critique, craftsmanship and industry, collective beliefs and consumption logics. By deploying satire as a plastic tool, Mármol constructs ambiguous and unstable forms that challenge dominant narratives, revealing the mechanisms of alienation, domination, and spectacle that shape our societies.
The duo Xolo Cuintle creates deserted and fossilized scenes from concrete, a central material treated as a fertile ground from which hybrid forms emerge. Ornamentation functions as a temporal marker, transforming each sculpture into a fragment of a shared narrative that disrupts linear conceptions of time. Their speculative approach combines ancient mythologies and contemporary concerns, with the dog—a recurring psychopomp figure—serving as a symbolic threshold between life and death, nature and artifice.

The convergence of these works forms a landscape traversed by organic shapes, ornamental systems, and heterogeneous materialities, where a subtle surrealism arises from the friction between the real and the imaginary. Between pictorial surfaces, concrete and ceramic bas-reliefs, and hybrid volumes, these works probe our relationship with the environment and the living, creating a tension between nature and culture, organism and structure. Ornamentation—simultaneously biological, mechanical, and symbolic—acts as a common language, revealing processes of transformation, circulation, and adaptation. From this encounter emerges a sensitive and critical territory, where the organic becomes an unstable space, traversed by contemporary narratives and ever-shifting mental landscapes.