Ramón Saturnino’s (b. 1999, San Luis Río Colorado, Sonora, Mexico) presentation for Lodos at Art Basel comprises two interconnected elements: a sculptural fence constructed from wire and plaster weights, and a selection of photographs from his ongoing series Bulgaria–Mexicali. The sculpture consists of thin vertical wires stretched across the booth’s walls, each stabilized by a plaster weight. These weights mimic standard fencing tensioners but are brittle and nonload bearing. As a result, the arrangement recalls the cadence of fencing yet is rendered functionally inert by its own fragility. The piece first appeared in Saturnino’s 2025 solo exhibition Aquí no es así at Lodos; for Art Basel, it is presented at a larger scale.

For this exhibition, I was commissioned to create a monumental piece for the courtyard of the Museo de la Ciudad de México—a government institution that invited me to produce a work in dialogue with Alfred Whitehead Reading Room by Siah Armajani.

My concept revolved around creating a backdrop for Armajani's piece, how it functions and what it implies.

 In Mexico City, the government frequently erects barricades during protests. These consist of modular metal units—frames with metal faces—that, when placed side by side, form large public divisions. Due to governmental neglect, many of these barricades remain for months after protests, becoming symbols of contemporary urban landscape..

For my proposal, I measured the museum’s façade and calculated that forty such units would be needed to cover it. Each frame (3 m × 3 m) was fabricated as an empty structure removing its dividing  function to create a hollow icon of public fragmentation.

Although initially planned for the museum’s courtyard, the piece was relocated indoors by petition of Mexico's ministry of culture  due to its political connotations. The final work consisted of forty metal frames arranged in a 9-meter-long line extending from one corner of the hall to the other.

In 2024, around 1,000 candles were collected from the Church of San Hipólito y San Casiano in Mexico City. Thischurch is known in the Catholic community for being a place of devotion to St. Jude Thaddeus, the patron saint ofimpossible causes., the candles were previously donated by devotees as part of a prayer ritual in which the candles areused to make requests to san judas, this served as the material for a sculpture comissioned by carrillo gil museum under the umbrella of a group exhition..For my proposal they offered me the back wall of the hall, which measured 10m wide by 3.45m tall, wall that dictated the measurements of my proposal, diving the hall in two with a line, a line made out of recycled paraffin wax (10m long x 12cm height and 6cm wide) from the colleted candles, is from this material that the shape of the sculpture is determined, utilizing the measurements of the space, and actions that i wanted the object to fulfil;something to look down to, a line to dived the hall, something to follow with you head down wile u walk, and most importantly something that u could easily jump over

In Lodos, a wire fence conditions the entrance to the room, where two diptychs ofstanding walls, encapsulated in glass—one rectangular and the other square—are exhibited.These artifacts suggest the multitude of fences, barriers, wire mesh, stakes, glass, and even hedges or otherinhospitable natural environments – these elements emerge and re-emerge as products of commercial, social, and geopolitical inventiveness that generate spaces: thus marking a front and a back, an inside and an outside,or a here and a there.

Dafne is a sculpture comissioned by the gallery for exhibition under the umbrella of a groupshow dedicated to exhibit paralles between architecture and sculpture.The sculpture is a 1:1 scale model of the facade of the house I grew up in but no longer remember, as it was demolished when I was five years old. Through the collection of parametric data about the facade of this house, such as testimonies from the artist’s family, and asking questions like, “How many steps did you take from the window to the front door?”, an architectural plan of the demolished facade was created, thus obtaining an architectural drawing of a vague memory. This became the foundation for creating the model, and the following steps were then carried out:The material for the facade is calculated [70m² of drywall].The windows and doors are traced onto the material.The material is compressed to fit the size of one of the columns in the gallery.

The compressed material is hidden inside the gallery.