VENICE.- The Mexican Pavilion at the 60th International Art Exhibition La Biennale di Venezia unveiled "AS WE MARCHED AWAY, WE WERE ALWAYS COMING BACK," a compelling video installation by the multidisciplinary artist Erick Meyenberg. Curated by Tania Ragasol, this project has been thoughtfully selected through a public call initiated by the Ministry of Culture and INBAL under the poignant theme "Foreigners Everywhere," as conceived by the Visual Arts Sector's director and the curator of Venice Biennale 2024, Adriano Pedrosa.

This installation, enriched with ceramic sculptures that meld elements from Mexico, Italy, and Albania, reflects deeply on themes of migration, the quest for belonging, and the perennial human condition of seeking roots in a transient world. Through the narrative lens of the Doda family— Albanian migrants who have made Italy their home— Meyenberg's work traverses personal and collective realms, examining the intricacies of familial bonds and the universal experiences of loss and appreciation that unfold around the family table.

"As we marched away, we were always coming back" not only explores the unique emotional landscapes of these experiences but also gestures towards the shared rituals that define our humanity—honor, love, and remembrance. The installation invites visitors to ponder the iterative nature of journeys and the complex identities that evolve in environments of continual change.

Erick Meyenberg (Mexico City, 1980), of German and Lebanese descent, has a diverse body of work that invites the viewer to engage with the art through their body, creating immersive experiences that problematize concepts such as identity, history, gender, and current reality. Among his most significant exhibitions are Things We Do for Love at Espacio Arte Abierto (2022); Beyond the Trees at Museo Tamayo (2021); Erick Meyenberg: Re Mayor no es azul at Museo Amparo (2020); Even When Fall is Here at the Haudenschild Collection, La Jolla, California (2019); Labor Berlin 2: Erick Meyenberg at Haus der Kulturen der Welt (2010); Das ist kein Fleisch! at the International Festival of Lights (FILUX), Laboratorio de Arte Alameda, CDMX (2013). His work is part of the following collections: Museo Universitario Arte Contemporáneo (MUAC, UNAM), Museo Tamayo (Inbal), Museo Amparo, Fundación Arte Abierto, Fundación Telefónica de México, and Fundación Benetton de Italia. Six monographic catalogs of his work have been produced. He lives and works in Mexico City.

Tania Ragasol (Mexico City, 1972) is an independent curator and manager in the field of contemporary art. Her main interests revolve around the concept of "the common". She is also keen on collaboration, interdisciplinarity, and the generation of productive transgenerational connections among professionals, students, and diverse audiences. She works in the realm of art in conjunction with other activities with the aim of fostering creative knowledge experiences. She holds a bachelor’s degree in art history from Universidad Iberoamericana, Mexico City. Ragasol served as Editorial Coordinator at the Carrillo Gil Art Museum (Mexico City,1998-2000) and Associate Curator in the contemporary art department of the Tamayo Museum of Contemporary Art (Mexico City, 2001-2003). She has been Associate Curator of inSite_05 (San Diego/Tijuana, 2003-2005), Curatorial Deputy Director at the Museum of Modern Art (Mexico City, 2007-2008), and Director of Casa Vecina (Mexico City, 2011-2014). She was Visual Arts Manager for the UKMX2015 Dual Year at the British Council, and from 2017 to 2020, she served as Artistic Director of the international art fair Zona Maco. Currently, she is part of Oficina Particular, a cooperative of contemporary art professionals. Ragasol hosts two programs on the @convoynetwork platform: #Visor and #VisorEnVivo, a live program featuring music and guest interviews. She lives and works in Mexico City.