La Fábrica Subin - Exquisite Encrucijada

November 27, 2026

5:00 P.M.

La Fábrica Subin, Hacienda Subin, Merida, Yucatán

ABOUT THE GATHERING

La Fábrica Subín 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 Thanksgiving Long Table turns dinner into another field of exploration, with a shared meal at its center. Laura Kirar’s Calling turns toward presence, symbol, and ritual. Music and dancing carry the celebration into the night.

17:00 · ARRIVAL
Cocktails with the featured artists, founders, and friends of La Fábrica Subín

19:00 · DEEP GOLD
Film screening · Julian Rosefeldt

19:30 · THE LONG TABLE
Dinner · Hacienda Subin

22:00 · CALLING
Laura Kirar · Estudio 01

23:00 · AFTER HOURS
DJ + dance

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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.

DESIRE · FREEDOM · POWER

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CULINARY ARTS

THE LONG TABLE

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.

PERCEPTION · TRANSFORMATION · DISCOVERY

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VISUAL ARTS

CALLING

LAURA KIRAR

Back at La Fábrica Subín, 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?

PRESENCE · SYMBOL · RITUAL

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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 Subín 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.