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    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
    From the series "Hechizo" | DER GREIF
    From the series "Hechizo"
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    Hechizo

    Artist Feature of Marianne Wasowska

    Beyond denoting a magical act, the term ‘hechizo’ (Spanish for ‘spell’) serves as a vibrant piece of Mexican slang. It refers to inventions, makeshift assemblages, and handmade creations: those "do-it-yourself" objects born primarily from the spark of necessity. This project, developed in the heart of Mexico City, offers a deep reflection on urban space through its waste, treating detritus as the inevitable material byproduct of an extremely saturated consumer culture.

    The project “Hechizo” originates from the compulsive, daily habit of photographing the city with a smartphone. It seeks to question the very nature of the digital images we relentlessly generate, only to let them languish in storage, never deleted and rarely utilized. In his book “Non-things: Upheaval in the Lifeworld,” (2022) philosopher Byung-Chul Han proposes an epistemology of the smartphone. He draws a haunting parallel between human memory and digital databases, conceiving of modern images as inert matter, data with no purpose other than to be archived and forgotten.

    To reflect on the ecology of these images and their intrinsic relationship with the city, I began working with the ‘Estraza’ paper, a common recycled paper used in Mexico for packaging takeout food and basic goods. Because it is composed of a chaotic blend of raw materials, every sheet possesses a unique composition; one can often see flecks of cardboard or glints of aluminum embedded in its surface. Sold by weight, Estraza is a utility item designed to be crumpled and discarded the moment its brief service is complete.

    By drawing a parallel between these digital snapshots – which are rarely viewed as intentional photography – and a paper stock generally considered unsuitable for high-quality printing, “Hechizo” seeks to engage with the residual materials that inhabit the blind spots of our representation and consumption. The project views these two dimensions not as separate issues, but as dialectical and inseparable forces defining our modern existence.

    Marianne Wasowska is part of »Guest Room: Alejandro León Cannock & Delphine Manjard«

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    Marianne Wasowska

    Marianne Wasowska (b. 1988, Paris) is photographer and visual artist. She graduated in anthropology from Paris X University (Nanterre, France) and then attended the Photography School (ENSP) of Arles (France). Since 2015 she has been a contributor for printed press as a photographer and picture editor. She completed a residency at Casa Velázquez (Madrid-ES) from 2016 to 2017, and received a production grant from Bilbaoarte Foundation (Bilbao-EUS) in 2018.