Thursday September 29, 2011 The NightBefore the Morning After, a project by Mario García Torres 4AD night curated by Eduardo Lopez dj: Pepe Casanova and Saúl snaks by: Gabriela Romero sponsor: Tequila Alacrán

After party, Mancandy collection for PUMA Celebration of Mario Bellatin’s lifetime scholarship


Alcohol (as well as drugs) consumption has been historically, and most probable mistakenly, connected to a creative act. Yet there has been a number of visual artists that have resort the old idea of drinking and getting drunk to create their work, both as a medium and as its “content” as the English duo Gilbert & George argued with their Drinking Sculptures series where they took pictures of themselves in that very same act. In one of their most iconic works, besides the one which this menu take its title from, is Gordon’s Gin Makes Us Drunk (1972), the couple is seen on a video piece indulging in the mentioned spirit. Similarly, the entire Andy Warhol film Drink (1965) is a long take of the filmmaker Emile de Antonio downing a bottle of whiskey. The Act of Drinking Beer with Friends -I wouldn’t limit it as only such beverage- is the Highest Form of Art (1970), declared Tom Morioni as he inaugurated what now is called a social situation type of artwork.

By chance, and several years before this, the experience of art through a cocktail was extended after the fact, some would say into the morning after. Those who attended the opening of the French artist Yves Klein at the Galerie Iris Clert in Paris on April 29, 1959 could acknowledge it. For this exhibition the space had been painted with white enamel and stripped of all objects and furniture except for a white, empty cabinet. The almost bare gallery could not be seen from outside as the windows had been painted blue and the door was covered with a heavy curtain of the same color, and two Republican Gards kept watch over it. Nevertheless the artist had arranged for a specific cocktail made with Gin, Cointreau and Curacao to be served. To the French artist’s delight -who had been painting deep blue monochrome paintings made out of a self invented recipe for such pigment- all who enjoyed the drink eventually found their pee stained blue.

Thinking about this and proposing, again, to use the idea of the cocktail as a medium, or more so to use the mixology that such a drink requires to provoke a specific aesthetic experience, or… maybe just as a decoy to have a good conversation, I have invited a number of artists friends to present their own cocktail, either one that they like, have customized or that have put together themselves. Each month a new cocktails by artists will be presented until a full bar menu is completed. As an honorary place, the menu will open with the historic blue cocktail.

Mario García Torres


One of my longest relationships has been with the legendary British label 4AD – a faithful kinship that started in my early teenage years and has spanned decades up to this date.

Recently, as I was about to be married, I curated a selection of my favorite tracks from the label’s history and sent a proposal to their A&R team for a sort of ‘Best Of’ boxed set that would encompass 8 vinyl records and a book, all with new artwork by v23, the label’s longtime art direction studio. The purpose of this boxed set was to codify the label’s identity but would also serve as a gift for guests at my wedding, where the selection would be played.

The selection itself is not chronological but serves more as a map of the label’s history, going through peaks and valleys and hopefully creating a cartographic document of an emotional landscape.

Eduardo Lopez Mexico City 2011

MARTINIS: Morte D’Arthur por Bedwyr Williams (una lágrima de Adma recogida en una cebolla, gin martini extra seco) Instrucciones para tomarse: Remojar la aceituna 2 veces pretendiendo soltarla y dejarla caer finalmente en la copa a la tercera. En el primer trago decir bajo el aliento: “Ah! My Lord Arthur, whither shall I go?”

El discreto encanto de la burguesía por John Menick (gin martini seco y pernod)

Copenhague LTD por Hugo Hopping (vodka martini mojado y sucio con vermouth Noilly Prat y aceitunas españolas rellenas de almendra)

COCTELES: vampiro rocallosa por verónica anaya (sangrita, jugo de toronja natural y tequila alacrán. Opcional: escarchado con sal de chapulin de la casa)

The Indolent Leopard por Lisa Tan (champagne, cognac, melón y jugo de limón)

Homestead Manhattan por Jens Hoffmann (whiskey de centeno, vermouth rojo y seco, angostura y jugo de limón)

Chispa Electrica por Carlos Ranc (un chorrito de las primeras 9 botellas, de izquierda a derecha, de la tercera repisa. Un chorrito de las 5 primeras botellas de la segunda repisa, de derecha a izquierda y jugo de limón.

Brydon E. Smith’s Marfa Margarita por Kitty Scott (tequila, triple sec, cordial de limón, clara de huevo y jugo de limón) It is a little known fact that when Brydon Smith was hard at work with Donald Judd in Marfa assembling the now seminal DONALD JUDD: Catalogue Raisonné of Paintings, Objects and Wood-Blocks 1960-1974, they rewarded themselves with Marfa Margaritas. As Brydon has recounted, when Judd met him at the Marfa airfield there would always be Tequila and Triple Sec in the truck’s cooler. In the early eighties, Brydon, wearing his signature bowtie, was having a margarita at an Ottawa establishment. The barman wanted to learn how to tie a bowtie and Brydon was interested in the cocktail. A trade ensued and Brydon took the recipe to Marfa. A consensus was reached and the Ottawa Margarita was officially sanctioned.

NOTA: Los cocteles fueron hechos en colaboración con el mixologer Joseph Mortera.

Botana de cortesía: Fritters de risotto con elote y camarón acompañadas de ailoi de jalapeño por la chef invitada de El Felix, Gabriela Romero.