Just like Henri Rousseau has never been in Mexico, without this setting limits to his imagination, Thorsten Kirchhoff was also never there, but through experiences and stories of friends and confidants, he created an imaginary of the peculiarities of this country. To Kirchhoff, Mexico seems to be a place where the opposites rule and the boundaries are amplified, which could be paraphrased as "sex, drugs and extreme procedures", a particularly stimulating condition for the language of art.
Although the exhibition begins with a narrative story, Thorsten Kirchhoff, as usual, makes use of film images, decontextualized and transformed into works of different forms, in a kind of cinematographic montage between image and material: in the installation "Mxcan Rdio", the dismembered Wall Of Voodoo´s song "Mexican Radio" becomes a lysergic soundtrack in a desert where peyote grows, inhabited by an occult snake charmer, a hut, a cut off finger in a bottle of mezcal, and references to Tom Ford's "Nocturnal Animals" and David Lynch's "Lost Highway".
Around a desiccated well, suspended upside down from the ceiling, images of erotic tension - supported by cactuses and intense lights - are taken from Godard's "Out of breath" and Pawlikowski's "Ida". The exhibition ends with a video, "Stop Motion", shot with a handheld 35mm camera, where a fragmented mind tries to recompose broken memories, perhaps of an abduction, perhaps of a threat in the form of a gift.