About us

Filux Lab is an initiative originated from the International Light Festival Mexico (Festival Internacional de las Luces México). It was our firm conviction to create breeding ground for local talent, with an identity all of its own, which made us design the first laboratory entirely dedicated to experimentation, discussion, production and exhibition of art pieces related to the language of light and cinema.

Our program connects us with the global scene of art through residencies, workshops, master classes, co-productions, forums and festivals that promote cultural exchange amongst artists, experts and a diverse audience.

We are an independent space based in the city of Mérida, Yucatán; our mission is to promote a sense of artistic community where different universes come together around the light.

filuxLab

Founder director

David Di Bona

General Cordinator

Josué Cú

Social networks

Gabriela Negrín

Graphic design

Taller de Comunicación Gráfica
Uzyel Karp - Diseñador

Web design

Victor Moran


Activities

Flyer filux lab

Cities built according to reticular matrix planning, like Merida’s city center, expand the length of the pathways. Corners are location points as much as they are meeting points, arrival and departure points. Crossing the streets generates a stream of thoughts and perspiration in pedestrians, this turns corners into the nodes through which a city is figured out. In the city of Merida, the corners were beginning and ending of journeys, marked by their names — originated from a past that has moved. The texture of the city lies on the skin covering the buildings.
Corners / Findings engages with the passage of light to unveil the skin tattooed around the corners of a multi-colored city. A mirror to walk the streets, which belong to a constellation that gets lost and is re-discovered everyday, just like pedestrians do.

PROFILE

Visual artist, consecrated to light; animator specialized in large format audiovisual media production and interactive art for the public space. Leader of the artistic group Fábula Rasa. Works regularly in the field of animation, documentary and screen dance focused on the living arts.
Creator of the light shows for the Cathedral of the city of Merida and the Monument to the Homeland on Paseo Montejo, as well of several pieces for FILUX Mérida / Tabasco and Mexico City. Works as multimedia designer in performing arts for many national companies of theater and dance. Has an MA in Stage Direction. Worked as animation producer for Channel 22.

Pieza esquinas

On this piece, the artist explores the natural luminous qualities of Mexico City. The study of natural light in its different versions is a tool for architectural and urban projects; the trajectory, the reflection and the absorption of light in the city have an impact on the social experience one gets from it. Using a systematic approach, he defines the different chromatic qualities, directions and timing of natural light. Like this, the artist develops an architectural installation that captures the varying moments of natural night in a specific spot of Mexico City.
The search begins at a meeting point between light and space. Salas tries to recognize a development process of architectural design through natural light. Being a lighting designer and an architect gives me the possibility to explore light and its phenomena on a given space. Temporality becomes permanence. Spatiality of volume is defined. Light reveals the physical media, the surfaces, locations, the superficial dimension, its limits and continuity.

PROFILE

Architectural designer and lighting expert, born in Mexico City. Studied architecture in the Gerrit Rietveld Academy of Amsterdam, in the Netherlands. Got a master in Lighting Design and LED Technology from Consorzio del Politecnico de Design in Milan, Italy.
His passion for the world of lighting and architecture began with an interaction in a social space in which visual perception was used as a link between technology and sensation.

Pieza

Homeostatic is the primary condition of the human being, before speech, where the intangible originated from the universe to mold the temporality dying out instantaneously to give way to other undefined new shapes, unmeasurable, with just the experience of reality being left to name what it’s impossible to name.
The timeless — yet steady — movement of the being, makes visible the potential of the essence to continue its journey through evolution, enticing to question the current state of ourselves with the possibility of changing it. The contemplation of oneself.

PROFILE

Japanese artist, based in Mexico City.
With a career of more than ten years in cinema, Yupica has strived to create new experiences with sequential images using artistic techniques and concepts; being rice, resin and video the materials through which this artist creates — from multimedia installations to pictures in motion — projecting his philosophical concerns about time, dissolution of individuality and structuralism.

Pieza

It is striking to see all you can do with rice: alcohol, candy, biscuits, rolls, pasta, soup, endless possibilities of creation yet to be explored. The potential of rice to mutate and be transformed is infinite — the ideal example of when thousands of self-contained, unique elements, with an anatomy of their own, come together to originate countless paths of creation materializing in new shapes and flavors— questioning the meaning of individuality, basic unity or community and the extent up to what they need each other.

PROFILE

Japanese artist, based in Mexico City.
With a career of more than ten years in cinema, Yupica has strived to create new experiences with sequential images using artistic techniques and concepts; being rice, resin and video the materials through which this artist creates — from multimedia installations to pictures in motion — projecting his philosophical concerns about time, dissolution of individuality and structuralism.

Pieza

Yupica’s universe gets agitated by time and individualism. The artist offers insights coming from meandering images that grow and transform from haze to a luminous transparency.
Shape is suspended in air, casting its own light towards the space, motion creates time, which is where reality forms; however, another possibility remains, where the still shape is vehicle for photons without provenance, hence the need for a space to hold the timeless — yet uniform — reality.

PROFILE

Japanese artist, based in Mexico City.
With a career of more than ten years in cinema, Yupica has strived to create new experiences with sequential images using artistic techniques and concepts; being rice, resin and video the materials through which this artist creates — from multimedia installations to pictures in motion — projecting his philosophical concerns about time, dissolution of individuality and structuralism.

Pieza

This piece makes us aware of the perverse use of money as the ultimate value to represent the world with and as symbolic synthesis of everyday reality. The installation incorporates a series of elements of light in the re-semantization of mundane objects like plates, glasses, spoons, cubes, toys, wires, etc., rearranging them in a contemporary view full of mystery, charm and beauty.
González’ piece invites us to be aware of the perilous presence of plastic in our lives, a clear threat to ecosystems and human health.

PROFILE

Born in Entre Ríos, Argentina, in 1971. Studied at Instituto de Artes e Idiomas Josefina Contte, in the city of Corrientes, where he graduated as Master on Visual Arts.
His first solo exhibition took place in Corrientes in 1996. After that he moved to Cordoba and, together with other artists, he created Apeyron (a center for research and experimentation on performing and plastic arts). He lived in Buenos Aires from 1999 to 2003 and moved afterwards to Mexico City, where he currently lives. Founder of project “Changarrito”. His work has featured in thirty-eight solo shows and has participated in one hundred and fifty-five collective exhibitions around the world.

Pieza

This artist delves into the sort of poverty that forces displacement, the every-day behaviors and society’s masqueraded violence, in a time ruled by the markets’ tyranny that is gradually destroying the environment and the mental health of mankind. She shows the silhouette of the one who survives on the street day after day, a child representing the thousands of children who walk the country struggling for their right to food, health and freedom from discrimination.
The author and her piece invite us to find the crevice on the wall of apathy in order to recognize every child in the figure of one, every migrant in the cry of these ones and everyone excluded from the feast, in the words of a teenage boy from Chiapas selling candy in Yucatan. This installation might well symbolize the bitterness on the face of a passing childhood leading to a premature, fucked-up and unfair adulthood, yet it is also an example of art as a call for changing ways.

PROFILE

Born in Acapulco, Guerrero, within a working-class matriarchal family. In 2002, she graduated from the School of Fine Arts of Universidad Autónoma de Querétaro, México.
Migration, cartography, memory and childhood are recurrent topics in her work, being a frequent migrant herself. Through installation, painting and projects focused on vulnerable populations the artist finds new routes, changes and dialogues that join the viewer, the work and the artist. Internationally, she has exhibited in Peru, London, Belize, whereas in Mexico she has shown her work in Colima, Querétaro, Mexico City, Michoacan, Chetumal, Merida, Cozumel, Cancun, Chilpancingo and Acapulco.
She currently lives in the southeast of Mexico as part of the RAC program 2019 (Artistic Residencies Cancun).

Pieza

This piece is about the interaction and the study of light. It refers to a formula of color addition where by means of combining the three primary colors – red, green and blue – a white light is obtained. .
There is no light without the shadow = There is no shadow without light Light can’t be without you = You can’t be without the shadow. Without you there is light = There is light without the shadow. The shadow is = Without there being light. Without there being shadow = Light is Is Light = Is shadow.
The artist offers this basic formula on the study of light: the inverse operation of light refraction, where a prism is capable of subtracting the spectrum of a white light from a rainbow as we know it. In this operation of arithmetic, light is incorporated only to be blocked afterwards, leading to the creation of a game that draws the user close to this phenomenon of the matter.

PROFILE

Architectural designer and lighting expert, born in Mexico City. Studied architecture in the Gerrit Rietveld Academy of Amsterdam, in the Netherlands. Got a master in Lighting Design and LED Technology from Consorzio del Politecnico de Design in Milan, Italy.
His passion for the world of lighting and architecture began with an interaction in a social space in which visual perception was used as a link between technology and sensation.

Pieza