• • Héctor Zamora  (*1974, Mexico City) is a São Paulo-based artist whose work visualises the relationship between past and present. Working across various mediums, re-contextualising the physical properties of weight and balance, gravity and buoyancy, Zamora creates geometries from histories. Yet because his projects are ephemeral, these materialised connections are never fixed in space or time. Rather, their physical fluctuations mirror the caprices of history, illuminating and suggesting ways of reconstructing the past by reconsidering the present.

    lsd.com.mx

  Hypars Intersections
  

   

  To be a Latin American artist is to be trapped in a double-bind of marginality: either tasked with consistently challenging the Western art historical canon, or accused of remaining confined within it. Born in Mexico City, the artist Héctor Zamora confronts this problem in a number of ways via his installation works.
  
  

  One of his tactics is to flaunt the expectation of working directly with his cultural heritage by focusing on universals: geometric forms, mathematical truths, expressive colours, natural phenomena. This can be seen in works like his recent Hypars Intersections series, shown at the Zona Maco fair in 2014, in which concrete has been moulded to form a series of delicate origami-like shapes and then presented in a series of permutations on a wooden display rack. Emperors of form like Donald Judd might be impressed; but so would Oscar Niemeyer. I (ew)

   

  ABOUT Héctor Zamora

  Photo: “Hypars Intersections” series, 2014 © Héctor Zamora

• COVER

  COVER

  Cover

  Mexico City
• Table of contents

  Table of contents
• EDITORIAL

  EDITORIAL

  Editorial

  Mexico City
• ESSAY

  ESSAY

  Mexico City Buzz Blues

  The best of cities, the worst of cities by Mario Ballesteros

  Text: Mario Ballesteros
• PHOTO ESSAY

  PHOTO ESSAY

  Two Million Homes for Mexico

  Photographs by Livia Corona Benjamin

  Text: Livia Corona Benjamin
• INTERVIEW

  INTERVIEW

  No Tabula Rasa

  Interview with Frida Escobedo

  Text: Florian Heilmeyer
• CASE STUDY

  CASE STUDY

  UNAM Campus

  The largest public research university in Latin America

  Text: Florian Heilmeyer
• SPECIAL

  SPECIAL

  Zumtobel Group Award

  Part 1
• CASE STUDY

  CASE STUDY

  Memorial to the Victims of Violence

  Gaeta-Springall Arquitectos' design bears witness to the drug wars

  Text: Mario Ballesteros
• VIEWPOINT

  VIEWPOINT

  This Neurotic Tradition

  The hardware and the software of the city by Michel Rojkind

  Text: Michel Rojkind
• CASE STUDY

  CASE STUDY

  Museo Jumex

  Designed by David Chipperfield Architects with TAAU / Oscar Rodriguez

  Text: Mario Ballesteros
• ESSAY

  ESSAY

  Refashioning the Narrative

  Emerging architecture and design practice by Mimi Zeiger

  Text: Mimi Zeiger
• FOUND

  FOUND

  Futureland: Mexico City

  An art project by Nuno Cera

  Text: Florian Heilmeyer
• CASE STUDY

  CASE STUDY

  Museo Soumaya

  Carlos Slim's private collection designed by FR-EE

  Text: Mario Ballesteros
• CASE STUDY

  CASE STUDY

  Cineteca Nacional

  Michel Rojkind's new space-age cloak

  Text: Mario Ballesteros
• CASE STUDY

  CASE STUDY

  Lisboa 7

  Modular apartments designed by AT103

  Text: Leigh Theodore Vlassis, Florian Heilmeyer
• FOUND

  FOUND

  Hypars Intersections

  The work of Héctor Zamora

  Text: Elvia Wilk
• VIEWPOINT

  VIEWPOINT

  Blowing in the Wind

  Tatiana Bilbao thinks Mexico City’s problems need better answers

  Text: Tatiana Bilbao
• PHOTO BOOTH

  PHOTO BOOTH

  In the Photo Booth with...

  Luby Springall and Julio Gaeta

  Text: Florian Heilmeyer
• KLAUSTOON

  KLAUSTOON

  Klaustoon

  XVI. Biennale non Banale (AKA: Pharisaic Chants)

  Text: Klaus
• NEXT

  NEXT

  Next

  Hans Hollein

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