Fellowship, in collaboration with ARTXCODE, is proud to present No Me Olvides, a new solo exhibition and collection by Ix Shells (Itzel Yard) debuting at Art Basel Miami Beach 2025 as part of the fair’s inaugural Zero 10 space for art of the digital era. Co-curated by Juan Canela and Alejandro Cartagena, with Emilie Boe Bierlich, who contributed the Nordic curatorial framework originally developed for the acclaimed 2024 exhibition Against All Odds at Denmark’s National Gallery (Statens Museum for Kunst), the presentation continues Yard’s exploration of visibility, data, and cultural memory, linking the histories of Nordic women artists to her own Afro-Caribbean and Latin American heritage through generative systems of light and sound. No Me Olvides (“Don’t Forget Me”) expands the research into a cross-cultural dialogue on art, gender, and remembrance. Drawing from archives across Europe, the Caribbean, and Latin America, Yard, together with long-time collaborator Rosendo Merel Choy, utilizes TouchDesigner, Notch, and LiDAR technologies to transform historic fragments into living algorithmic compositions, reanimating forgotten creative lineages through rhythm, light, and code. Rooted in research on women artists of the nineteenth century, No Me Olvides creates a temporal bridge between past and present. Through immersive generative visuals and interactive sound, Ix Shells transforms archival materials into a digital choreography of remembrance and renewal. Curator Juan Canela writes, “This work by Ix Shells emerges from the legacy of pioneering Latin American women artists who developed their practice during the nineteenth century. Through a powerful double gesture, Ix Shells creates a temporal bridge between past and present, updating and reinterpreting their works while simultaneously reclaiming their importance, long buried at the margins of art history.” Presented as a large-scale digital installation, No Me Olvides unfolds across four algorithmic movements where light, sound, and code merge into an evolving field of abstraction. The viewer’s presence activates sensors that cause patterns to ripple and reform, translating proximity and motion into cascading layers of color and sound. Each generative sequence draws from the tones, gestures, and compositions of the historical works, abstracting brushstrokes into constellations of digital light that pulse in rhythm with the generative score composed by Ix Shells. The exhibition comprises two 28-minute interactive video installations, ten short video works, and one hundred animated generative works with sound, each built from the same core dataset and conceptual framework. Curator Alejandro Cartagena writes, "No Me Olvides is a sensorial bridge between erased histories and living code. Treating the archive as material made of colors, texts, geographies, and personal affinities, Ix Shells maps new networks across Europe and Latin America, weaving image and sound into a choreography of “lost pixels” that spill into new questions about art, memory, privilege, and who gets to write history."
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