Starting from an invitation to collaborate in the Gallery space, both artists participated in an exercise in which their works were transformed into an installation composed, transformed and even infected by the individual languages of each body of work. Krassoievitch's red noses and rugs became a geometric element and basis for Orlaineta's paintings and sculptures in wood and metal. Although obvious to our eyes, bird feathers were never originally intended as an extension of the rooster.

This exercise, in the pedagogical environment in which the curatorial program of the University of Monterrey takes place, speaks to us of the importance of collaboration, openness and, above all, the idea that despite the complexity of the languages with which that we each communicate, there will always be a starting point.

Edgar Orlaineta (Mexico City, 1972) focuses his artistic practice on hybrid sculptural forms that echo modernism, popular culture, and specific historical moments. In his works, the perception and the symbolic and economic value of things are questioned -industrial objects that at one point were mass-produced, despite their original intentions-, by incorporating artisanal elements or by assembling objects of daily life that They have no historical relevance. When the objects of Orlaineta's sculptures lose their functionality, cult or historical value, and are open to a new imagery, they replicate the legacy of the historical avant-gardes.

The work of Iván Krassoievitch (Mexico City, 1980) starts from the personal anecdote and the autobiographical account, where the appropriation of images and objects are transformed into gestures that leads the viewer - through humor - to reflect on the lack of autonomy in certain acts: chance. As well as in the absurdity of everyday life.