Anaïs Lepage is a curator, writer and art historian based between Mexico and France. Her research explores the intersections of art, affects and literature; emotional, mystical and ancestral practices; feminist and queer histories and methodologies; the politics of decorative art and the artifice of nature. She is particularly drawn to time-based, performative, and discursive formats with multidisciplinary and relational dimensions. Through encounters and friendships, she has developed a deep interest in the art scenes of the Americas and the Caribbean, the Nordic countries, Mexico, Spain, and France.

Since 2023, she is the Director of the Institutional Program & Conversations at Material and Salón Acmé (Mexico City). In 2024–2025, she serves as Head of Cultural Programs at 49 Nord 6 Est – Frac Lorraine (Metz) and Guest Curator for Moving Image and Performance at Casa del Lago UNAM. Previously, she held Assistant Curator roles at the Fondation Louis Vuitton, the Museum of Modern Art of Paris (MAM), and the Museum of Contemporary Art (MoCA) in Chengdu, and taught Curatorial Studies at Paris 1 Panthéon-Sorbonne University. She collaborated with artists such as Julien Creuzet, Rachel Rose, Madison Bycroft, and Daniel Otero Torres.

Recent projects include Kris Lemsalu’s The Snail Pace, first large-scale performance in public space in France, co-produced with four institutions and the City of Metz (Frac Lorraine); the symposium Affective Constellations at the Museo Tamayo (Material & Salón Acmé); the first presentation in Mexico of the video installation Annlee: No Ghost Just a Shell by Pierre Huyghe, Dominique Gonzalez-Foerster, and Philippe Parreno with the Museum of Modern Art of Paris; and Ulrik López’s performance Pataki 1921 as part of the Festival Poesía en Voz Alta (Casa del Lago UNAM). She writes and gives lectures regularly, with contributions to Mousse Publishing and the Festival of Art History in Fontainebleau, among others.

ASMA is an artist duo formed by Hanya Beliá (Mexico, 1994) and Matías Armendariz (Ecuador, 1990). Based in Mexico City, their multidisciplinary practice explores transformation, mythology, and liminal states through sculpture, installation, and speculative fiction.

Photo: ASMA, Ciudad de México. Photo by Rodrigo Álvarez, courtesy of PEANA.

Ileana García Magoda (Mexico City, Mexico, 1987) lives and works in Valle de Bravo, Mexico. Through painting, her practice explores the relationships between the body, time, and natural processes, developing working methodologies that privilege attention, rhythm, and the materiality of gesture.

Alberto Perera (Barcelona, Spain, 1980) lives and works in Mexico City. Through drawing, ceramics, video and performance, his practice explores vulnerability and the grotesque through humour, absurdity, and a deliberately kitsch aesthetic. His work intertwines references to art history and popular imagery, crafting worlds in which the boundaries between reality and fiction remain deliberately unstable.

Created especially for An Obsession with Flowers, the work is conceived as a series of vignettes that together form a wallpaper. The illustrations draw on scenes and characters from the works of Marcel Proust and Mario Bellatin that frame the exhibition, which Perera fragments and reimagines by incorporating figures from other visual imaginaries alongside characters of his own invention. Flowers move through the different scenes not simply as ornamental elements, but as agents within the narrative: they become hiding places, objects of desire, vehicles of escape, or disproportionate presences. Repeated across the wall, the illustrations form a continuous landscape in which literary references are transformed through unexpected, irreverent, and absurd associations.

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