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Nahum B. Zenil & Susana Wald
at Survey Booth S12
5-7 Dec, 2025
@artbasel Miami Beach

Parallel Oaxaca is thrilled to announce its first presentation at Art Basel Miami Beach with works by Nahum B Zenil (b. 1947) and Susana Wald (b. 1937).

As continuous exchanges of intimacy, Parallel Oaxaca presents a survey presentation that reference, punctuate and celebrate beloved anecdotes and landscapes.

Nahum B. Zenils queer reiteration of desire inscribes an intimate conversation with the traditions of self- portraiture and Mexican popular art. Susana Wald imagery arise from unrully tactile topologies that refute normative streams of patriarchal figuration of female anatomies.
A transformism and a multiplicity that accumulate pictorial references, dreams, desires and pulses the presentation at Survey locates these two Latin-American artist within surrealism where images subvert normative and obscurant politics of representation.

#NahumBZenil
#SusanaWald
@marisanewmanprojects
#ParallelOaxaca
#ArtBaselMiamiBeach
#NahumZenil

Nahum B. Zenil & Susana Wald
at Survey Booth S12
5-7 Dec, 2025
@artbasel Miami Beach

Parallel Oaxaca is thrilled to announce its first presentation at Art Basel Miami Beach with works by Nahum B Zenil (b. 1947) and Susana Wald (b. 1937).

As continuous exchanges of intimacy, Parallel Oaxaca presents a survey presentation that reference, punctuate and celebrate beloved anecdotes and landscapes.

Nahum B. Zenils queer reiteration of desire inscribes an intimate conversation with the traditions of self- portraiture and Mexican popular art. Susana Wald imagery arise from unrully tactile topologies that refute normative streams of patriarchal figuration of female anatomies.
A transformism and a multiplicity that accumulate pictorial references, dreams, desires and pulses the presentation at Survey locates these two Latin-American artist within surrealism where images subvert normative and obscurant politics of representation.

#NahumBZenil
#SusanaWald
@marisanewmanprojects
#ParallelOaxaca
#ArtBaselMiamiBeach
#NahumZenil

The works of Nahum B. Zenil in “silhouettes” are presented for the first time within a curatorial
context following the artist’s solo exhibition at the Museo de Arte Moderno, “El gran circo del Mundo”, in 1999.

Developing his interest in the unfolding and elasticity of bodies in the circus as a way of experiencing the world differently, the artist’s proposal traced a journey through the human condition, solitude, and the search for desire.

Erotic representation, the homeland, myth, death, identity, love, and sexuality constitute, in the work of Nahum B. Zenil, the fundamental consciousness of his self-referential practice.

In the work and installation “Verdugo” (1993) Nahum created an interactive dynamic with visitors, who, by climbing onto the platform alluding to a guillotine, could pose behind the work, while at the same time the artist articulated a critique of the violences against queer bodies and to the condemnation of representing homoerotic desire within Neo-Mexicanism.

Nahum B. Zenil
“Verdugo” (1993)
Acrylic on wood
55 x 59,5 x 6,5 cm
Installation
220 x 90 x 90 cm

NBZ93_002

Las obras de Nahum B. Zenil en “silhouettes” se presentan por primera vez dentro de un contexto curatorial tras la exposición individual del artista en el Museo de Arte Moderno, “El gran circo del Mundo”, en 1999.

Desarrollando su interés por el despliegue y elasticidad de los cuerpos en el circo como una manera de experimentar el mundo de forma distinta, el artista trazó un recorrido por la condición humana, la soledad y la búsqueda del deseo.

La representación erótica, la patria, el mito, la muerte, la identidad, el amor y la sexualidad constituyen, en la obra de Nahum B. Zenil, la conciencia fundamental de su práctica autorreferencial.

En la obra e instalación “Verdugo” (1993), Nahum B. Zenil creó una dinámica interactiva con los visitantes, quienes, al subir a la plataforma que aludía a una guillotina, podían posar detrás de la obra, mientras que al mismo tiempo el artista articulaba una crítica de las violencias ejercidas contra los cuerpos cuir y a la condena de la representación del deseo homoerótico en el neo-mexicanismo .

#NahumBZenil

Photo: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

Rubén Ulises Rodríguez Montoya
“Queen amidala en rumbo a metro San Cosme” (2026)
Gray backpack, brown shirt, cow; tail, hoof, pelt. Gulf balls, burnt plastic, red car part, white thong, white socks, horn tips, steal rod, twine, dragon skin silicone

@que.fresca en silhouettes
@parallel_oaxaca

Photos: @emmstudio.mx

silhouettes en @parallel_oaxaca
con Nahum B. Zenil, Frieda Toranzo Jaeger, Chiachio & Giannone, Michael van den Abeele, Aline Bouvy, Vava Dudu, Rubén Ulises Rodríguez Montoya

Horarios de visita:
Mar-Jueves 11-2/ 3-6pm
Vier-Sáb 11-3pm

Hasta el 6 de junio, 2026

Alumnos 14-B, San Miguel Chapultepec, CDMX. (entrada por la calle Pedro Antonio de los Santos)
Photo: @emmstudio.mx

silhouettes en @parallel_oaxaca
con Nahum B. Zenil, Frieda Toranzo Jaeger, Chiachio & Giannone, Michael van den Abeele, Aline Bouvy, Vava Dudu, Rubén Ulises Rodríguez Montoya

Horarios de visita:
Mar-Jueves 11-2/ 3-6pm
Vier-Sáb 11-3pm

Hasta el 6 de junio, 2026

Alumnos 14-B, San Miguel Chapultepec, CDMX. (entrada por la calle Pedro Antonio de los Santos)
Photo: @emmstudio.mx

Michael Van den Abeele lives in Brussels and works across a variety of media, including painting, furniture, and narrative forms.

As scripts of reproduction and resurrection—understood as both forms and economies—the artist reappropriates materiality as mythology, proposing emancipation through seduction.

The mummies paintings presented at “silhouettes” in @parallel_oaxaca evoke a mannerist death cult, and a human quest for eternity.

The mummy—once an irreproachable aristocrat—has been transformed into a popular icon, here represented on bleached denim; displacing jeans from the domain of workwear to be reconfigured as ornament.

A commodity emerging from the throes of the market; a desire for legibility and discernible form.

Neither fully subject nor object, the mummies embody a human pursuit of eternity. At once iconic and anonymous, each figure remains resolutely individual: a bourgeois-bohemian or a performer of suspended time.

——

Michael Van den Abeele vive en Bruselas y trabaja a través de una variedad de medios, incluyendo la pintura, el mobiliario y las formas narrativas.

Como guiones sobre la reproducción y resurrección—tanto como formas y economías—el artista reapropia la materialidad como mitología, proponiendo una emancipación a través de la seducción.

Las pinturas de momias presentadas en “Silhouettes” en @parallel_oaxaca evocan un culto manierista a la muerte y una búsqueda humana de la eternidad.

La momia— que podríamos entender como un irreprochable aristócrata—se ha transformado en un icono popular, aquí representado sobre mezclilla / denim decolorado; desplazando los jeans de entenderse como ropa de trabajo para reconfigurarlos como ornamento.

Una commodity surgida de las tensiones del mercado; entre el deseo de legibilidad y de forma discernible, la momia no es plenamente sujeto ni objeto,encarnan una búsqueda humana de la eternidad.

A la vez icónica y anónima, cada pintura permanece resueltamente individual: un burgués-bohemio o un performer del tiempo suspendido.

Parallel Oaxaca
Silhouettes
@important_fan

Photo: @emmstudio.mx

Opening / inauguración

viernes 17 de abril6- 9 pm

“silhouettes”
Nahum B. Zenil, Frieda Toranzo Jaeger, Chiachio & Giannone,
Michael van den Abeele, Aline Bouvy, Vava Dudu,
Ruben Ulises Rodríguez Montoya.

viernes 17 de abril6- 9 pm
Alumnos 14 , San Miguel Chapultepec, cdmx
(entrada por Pedro Antonio de los Santos)

Photo: @emmstudio.mx

Parallel Oaxaca is thrilled to present “Silhouettes”

with Nahum B. Zenil, Frieda Toranzo Jaeger, Chiachio & Giannone, Michael van den Abeele, Aline Bouvy, Vava Dudu and Rubén Ulises Rodríguez Montoya

Friday, April 17, 6–9 pm

Alumnos 14-B, San Miguel Chapultepec, CDMX

In “Silhouettes,” the intertwining and blurring of various forms of portrayal, materialities, and expression generate an unusual dynamic: a transfiguration and recasting of the everyday.

At the confluence of presence and time, the exhibition considers individual ideologies and sovereignty within the aesthetic experience of corporate culture. Against the reduction to stereotypes, it foregrounds desire as a structuring force, moving toward a constellation of mythologies that reimagine communal bodies.

A presence expanding its borders, a body re-negotiating its visibility, its social conditioning, affects, erasure, and its autonomy against banality and the reduction imposed by the spectacle and its framing of subjects, rendering artworks as public display where figuration -saturated with desire, labor and private emotional attachments become visible.

———

En “Silhouettes,” se entrelaza la disolución de diversas formas de representación, materialidades y expresiones generando una dinámica inusual: la transfiguración y nueva moldura de lo cotidiano.

En la confluencia de presencia y el tiempo, la exposición se centra en ideologías indivisuales y su soberanía dentro de la experiencia estética de la cultura corporativa. En contra de la reducción de los individuos a estereotipos, la exposiciónsitúa el deseo como una fuerza generativa, que avanza como una constelación de mitologías que reimaginan cuerpos colectivos.

Una presencia capaz de expandir sus límites; un cuerpo que renegocia su visibilidad, su condición social, el borramiento y su autonomía frente a la banalidad y la reducción impuesta por el espectáculo y sus formas de enmarcar a los sujetos, para re-formlar obras como espacios públicos donde la figuración saturada en deseo, trabajo y vínculos emocionales se hace visible.

Artists
@que.fresca @priupit @chiachiogiannone @important_fan @alinebouvy @vava.dudu #NahumBZenil

Gabriel Rossell Santillán & Keiko Kimoto
“Flowers Beneath Our Feet/ Los muertos atraviesan islas” (2022)
Woven tapestry (Casa Cruz, Teotitlán del Valle, Oaxaca)
Silk, llama, alpaca, merino, vicuña, franklin wool, guanaco.
180 x 86 cm / 70.87 × 33.86 inches
GRS_K22-001

Atlas at @parallel_oaxaca
Photo: @emmstudio.mx

Gabriel Rossell Santillán & Keiko Kimoto
“Flowers Beneath Our Feet/ Los muertos atraviesan islas” (2022)
Woven tapestry (Casa Cruz, Teotitlán del Valle, Oaxaca)
Silk, llama, alpaca, merino, vicuña, franklin wool, guanaco.
180 x 86 cm / 70.87 × 33.86 inches
GRS_K22-001

Atlas at @parallel_oaxaca
Photo: @emmstudio.mx

Patricia Belli
Arquitectura (2026)
Ropa usada fruncida y cosida
276 x 297 x 205 cm
PB26-002

xipitote #PatriciaBelli

Foto @emmstudio.mx

Patricia Belli
Arquitectura (2026)
Ropa usada fruncida y cosida
276 x 297 x 205 cm
PB26-002

xipitote #PatriciaBelli

Foto @emmstudio.mx

Patricia Belli
Arquitectura (2026)
Ropa usada fruncida y cosida
276 x 297 x 205 cm
PB26-002

xipitote #PatriciaBelli

Foto @emmstudio.mx

Patricia Belli
Arquitectura (2026)
Ropa usada fruncida y cosida
276 x 297 x 205 cm
PB26-002

xipitote #PatriciaBelli

Foto @emmstudio.mx

Patricia Belli
Arquitectura (2026)
Ropa usada fruncida y cosida
276 x 297 x 205 cm
PB26-002

xipitote #PatriciaBelli

Foto @emmstudio.mx

Este jueves será el último día para visitar “Atlas” en Parallel Oaxaca, si no has podido ver nuestra exposición inaugural de 4 a 7pm estaremos en la galería y será un gusto saludarles

Nahum B Zenil, Gabrie Rossell Santillán & Keiko Kimoto, Edith Morales, Patricia Belli, Susana Wald & Ludwig Zeller y Octavio Aguilar.

Alumnos 14-B, entrada por la calle Pedro Antonio de los Santos

——

This Thursday will be the last day to visit “Atlas” at Parallel Oaxaca. If you haven’t been able to see our inaugural exhibition, we’ll be at the gallery from 4 to 7 pm and it will be a pleasure to greet you.

Address is Alumnos 14-B, entrance on Pedro Antonio de los Santos street

Photo: @emmstudio.mx

Este jueves será el último día para visitar “Atlas” en Parallel Oaxaca, si no has podido ver nuestra exposición inaugural de 4 a 7pm estaremos en la galería y será un gusto saludarles

Nahum B Zenil, Gabrie Rossell Santillán & Keiko Kimoto, Edith Morales, Patricia Belli, Susana Wald & Ludwig Zeller y Octavio Aguilar.

Alumnos 14-B, entrada por la calle Pedro Antonio de los Santos

——

This Thursday will be the last day to visit “Atlas” at Parallel Oaxaca. If you haven’t been able to see our inaugural exhibition, we’ll be at the gallery from 4 to 7 pm and it will be a pleasure to greet you.

Address is Alumnos 14-B, entrance on Pedro Antonio de los Santos street

Photo: @emmstudio.mx

Susana Wald and Ludwig Zeller
Atlas
@parallel_oaxaca ‘s inaugural exhibition in Mexico City

Susana Wald and Ludwig Zeller
“La visión de Moctezuma / The visión of Moctezuma” (1980) de la serie Mirages
40 x 51 cm
Collage and ink on paper

Susana Wald
Untitled (1965) from the series Las reglas del juego
Ink on paper
55 x 38.5 cm

Ludwig Zeller
“donde pasa el viento” (1971)
collage sobre papel
35.5 x 17.7 cm

Nahum B Zenil at @post_fair LA

Nahum B. Zenil x Parallel Oaxaca
Post-Fair LA
booth 23
Public days: 25/feb – 28 Feb, 2026

1248 5th Street,
Santa Monica,
California 90406

Nahum B. Zenil imagery draws a constant reiteration of desire through an intimate conversation with the viewer.
His work emerges from the tradition of portraiture and is deeply rooted in Mexican popular art. Zenil’s practice is shaped by a socially conscious and queer realism that challenges obscurantist politics—politics that have historically neglected the pulse and representation of natural and rural queer identities.

A central figure in the Neo-Mexicanist movement since the 1980s, Zenil combines diverse contexts and symbols drawn from the Mexican imaginary: virgins, saints, traditional toys, nudes, landscapes, national emblems, and symbolic historical events. His work fluctuates between popular imagery and the political constructs embedded in systems of representation. The body, power, spirituality, desire, and the scars associated with the construction of national identity are recurring themes in his oeuvre.
Zenil consistently employs self-portraiture to revisit his family history, reconfigure a shared social memory, and foreground the identification and affirmation of homoerotic desire.

Photo @moe.wakai