.PUNTOYCOMA, CAP III. NEW EVERYDAY

NEW EVERYDAY celebrates a decade of Ángulo Cero as a dynamic meeting point for art and design, framing creative practice as both expression and survival. Coined by Soviet artist and educator Vladimir Tatlin—whose “new everyday” (новый быт) envisioned aesthetics, functionality and ideology fused in daily life—the concept underscores art’s capacity to shape society and project futures through teaching. For founder Montserrat Castañón, who has journeyed from curator and gallery director to art educator, this exhibition is also a personal manifesto: teaching, like Tatlin believed, is integral to artistic practice, a means of leaving a meaningful imprint on generations facing a rapidly transforming world.

At the heart of NEW EVERYDAY is the conviction that, in an age of fading disciplinary boundaries and unrelenting uncertainty, time—our scarcest resource—becomes the greatest luxury. Through work by six individual practitioners and a collective student project, the show explores how process, materiality and critical inquiry can cultivate depth, resistance and connectivity.

Polish-born, Bacalar-based designer Ania Wołowska presents a body of tropical-wood pieces that honor each material’s origin, history and temporal rhythms. Her practice, rooted in respect and care, resists the rapid churn of consumption by celebrating permanence and slowness, forging objects that feel both functional and poetic.

Graphic designer and typographer Tania Zaldívar brings an experimental lens to the handmade and digital alike. Through iterative processes, her work interrogates the very systems and techniques she deploys, laying bare the interplay between craft, technology and concept.

Similarly, designer-artist Luisa Restrepo navigates the nexus of product design and fine art through her glass investigations. With a rigorous focus on production processes, she shapes objects imbued with narrative, marrying technical mastery to an aesthetic of thoughtful simplicity.

Cuban multidisciplinary artist Yanira López (YaLo) channels her Caribbean upbringing and refugee experience into explorations of identity, memory and power. Her pieces examine how gentrification and political systems reshape collective recollection of urban spaces, inviting viewers to consider what—and who—is erased or valorized.

Rounding out the exhibition, students from Tecnológico de Monterrey’s Estado de México campus—Astridd Huerta, Hellen Castillo, Ximena Irazaba, Emiliano Sánchez, Lucía Hernández, Stephany Pacheco and Mayalen Ramírez—contribute “Tiempo de Calidad,” a furniture series that foregrounds the value of time and attention. Blending traditional Mexican motifs with contemporary design, these works transcend mere utility to become cultural statements, affirming design’s role in sustaining heritage.

As both curator and teacher, Montserrat Castañón invites audiences to inhabit this “new everyday,” to engage with the works and ideas on display, and to join in collectively constructing alternative futures—where art and design stand as tools of resistance, connection and lived transformation.