- Date
- Friday, November 27, 2026
- Time
- 5:00 PM
- Location
- La Fábrica Subin,
Hacienda Subin, Yucatán, México
Opening
Exquisite Encrucijada
Friday, November 27th 2026 • 5:00 PM
About the gathering
La Fábrica Subin begins at a crossroads: between art and life, the imagined and the lived, the intimate and the collective, what we know and what we have yet to discover. On November 27, we gather there for the first time, opening Exquisite Encrucijada, a series of exhibitions, performances, conversations, and gatherings unfolding through February.
For this first gathering, Julian Rosefeldt explores desire, freedom, and the social structures that shape them through Deep Gold. The Long Table turns dinner into another field of exploration. Laura Kirar's Calling turns toward presence, symbol, and ritual. Music and dancing carry the celebration into the night.
- ArrivalCocktails with the featured artists, founders, and friends of La Fábrica Subin
- Deep GoldFilm screening · Julian Rosefeldt
- The Long TableDinner · Hacienda Subin
- CallingLaura Kirar · Estudio 01
- After hoursDJ + dance
Cinematic arts
Deep Gold
Julian Rosefeldt
What happens when desire meets the structures that seek to contain, direct, or exploit it?
Deep Gold (2013/14) revisits Luis Buñuel's L'Âge d'Or (1930), placing its tensions between desire and social constraint within a contemporary landscape of sexual freedom, feminism, and economic inequality. Shot in black and white, the film asks what has changed since Buñuel challenged the sexual repression and bourgeois morality of his time, and what forms of constraint persist today.
Culinary arts
The Long Table
Coming soon
The Long Table shifts the evening from encounter to exchange. Over dinner, everyone enters the conversation. Ideas raised through the evening become threads to carry further.
Familiar ingredients change character through fire, transformation, contrast, and unexpected combinations.
Visual arts
Calling
Laura Kirar
Back at La Fábrica Subin, Laura Kirar activates Calling in Estudio 01.
Calling is centered on two raku ceramic vessels, one holding water and the other fire, resting on a structure of alamo root dressed in gold leaf and illuminated by blue light. Metal cymbals encircle the vessels, each marked with GLYPH, Kirar's visual language of approximately thirty symbols. Each carries a meaning and, in combination, the symbols can be read or interpreted by those familiar with the language. Touch and movement set the cymbals sounding.
Kirar conceived Calling as a means of summoning presence. Sound, resonance, remembrance, and place converge through an experience that asks for participation. There is mystery in the elements, their placement, and the sounds released through interaction. That mystery extends to the purpose of the call itself: who, or what, is being called?
About
Julian Rosefeldt
Julian Rosefeldt is a Berlin-based artist and filmmaker whose meticulously staged film and video installations examine the structures and beliefs that shape society. Trained as an architect, he approaches film through composition, scale, and spatial choreography, using humor, satire, and theatricality to explore ideology, history, capitalism, and identity.
His work has been presented internationally and is held in major collections including The Museum of Modern Art, New York, the Nationalgalerie, Berlin, and the National Gallery of Australia. Since 2011, Rosefeldt has been Professor of Digital and Time-Based Media at the Akademie der Bildenden Künste in Munich.
Laura Kirar
Laura Kirar builds worlds. Her practice moves fluidly across contemporary art, design, architecture, performance, hospitality, and cultural initiatives. From immersive art installations and collectible design to the restoration of the nineteenth-century Hacienda Subin and the transformation of Mesón Hidalgo, her work explores how material, place, and the spaces we inhabit shape perception, memory, and everyday life. Her social practice extends this inquiry through collaborations with makers and traditions rooted in Yucatán, where she is based.
Kirar studied sculpture and interior architecture at the School of the Art Institute of Chicago. Over more than twenty-five years, she has developed an internationally recognized multidisciplinary practice. Her work has been presented at and through Museo Tamayo, Design Miami, Salón Art + Design, LongHouse Reserve, AGO Projects, Zona MACO, Maison Gerard, The Winter Show, and Centro Cultural Olimpo.