“A 21st-Century Idea of Unhappiness,” 2011. Exhibition view at Preteen Gallery, Mexico City. Photo: Gerardo Contreras. Courtesy Preteen Gallery
What encourages the curatorial practices of the duo Rest in Peace Farrah Fawcett (RIPFF), better known as Preteen Gallery, is the contemporary doubt and deception caused by the fail of the Modernist Project, post-Duchampian art, the absence of utopias, utopias and a revolution on art leading to a collectivization of private intellectual property, a contemporary means of communication, social networks, and the internet practices that cannot be distinguished from any post-conceptual artwork. All this is captivated by the libido of contemporary sexual hybridizations, subjectivity and post-Gay aesthetics. A wider explanation or statement can be read in the Ratpiss Manifesto.
Since November 2008, we have shown works by Alice Lancaster, Marlon Rabenreither, Felix Lee, Bea Fremderman, Brandi Strickland, Hazel Hill, Grant Willing, Cornrow Rider, Mike Paré, Lucas Soi, Jeffrey Joyal, Carlos Laszlo, Die Tödliche Doris, Luke Barber-Smith, Tania Leshkina, AIDS-3D, Peter Sutherland, Animal Charm, Abdul Vas, Brad Tinmouth, Kari Altmann, Radamés “Juni” Figueroa, Anne de Vries, Chemi Rosado, Daniel Hipólito, Dylan Reece, Jostin Bochek, Hope Epoh, Iain Ball, Michelle Ceja, Adam Jacono, Emily Jones, and Petra Cortright. The Preteen Gallery project has moved from Hermosillo (in northern Mexico) to Mexico City. Preteen also publishes Muchachita, a magazine on contemporary thought.