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Age of discrepancies
"The first exhibition to offer a critical assessment of the artistic experimentation that took place in Mexico during the last three decades of the twentieth century. The exhibition carefully analyzes the origins and emergence of techniques, strategies, andmodes of operation at a particularly significant moment of Mexican history, beginning with the 1968 Student Movement, until the Zapatista upraising in the State of Chiapas. Theshow includes work by a wide range of artists, including Francis Alys, Vicente Rojo, Jimmie Durham, Helen Escobedo, Julio Galán, Felipe Ehrenberg, José Bedia,Guillermo Gómez-Peña, Francisco Toledo, Carlos Amorales, Melanie Smith, and Alejandro Jodorowsky, among m...
Materiality and Architecture
Once regarded a secondary consideration, in recent years, materiality has emerged as a powerful concept in architectural discourse and practice. Prompted in part by developments in digital fabrication and digital science, the impact of materiality on design and practice is being widely reassessed and reimagined. Materiality and Architecture extends architectural thinking beyond the confines of current design literatures to explore conceptions of materiality across the field of architecture. Fourteen international contributors use elucidate the problems and possibilities of materiality-based approaches in architecture from interdisciplinary perspectives. The book includes contributions from t...
Cuadro rojo, imposible rosa / Red Square, Impossible Pink
México participa en el intercambio artístico que propicia la 54 Bienal de Venecia con la obra de Melanie Smith, quien presenta tres piezas de vídeo agrupadas bajo el título "Cuadrado rojo, imposible rosa", un concepto que articula tres de sus trabajos más recientes: "Estadio Azteca", "Xilitla" y "Bulto". El primero de ellos es el documento visual de una acción realizada en este estadio, en el que la autora elabora una reflexiíon visual sobre la idea de patria y el caos que acompaña a las revoluciones. El segundo, "Xilitla", es un filme experimental en 35mm en el que explora los múltiples significados que un espacio casi mítico en México -un jardín surrealista creado en plena Huasteca potosina por el inglés Edward James- tiene en la actualidad. Finalmente, "Bulto", una pieza originalmente comisionada por el Museo de Arte de Lima, en la que un fardo irrumpe en diferentes espacios públicos, participando en las más diversas dinámicas de la urbe.
Short Circuit
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Spirals
In this elegantly written and beautifully illustrated book, Nico Israel reveals how spirals are at the heart of the most significant literature and visual art of the twentieth century. Juxtaposing the work of writers and artists—including W. B. Yeats and Vladimir Tatlin, James Joyce and Marcel Duchamp, and Samuel Beckett and Robert Smithson—he argues that spirals provide a crucial frame for understanding the mutual involvement of modernity, history, and geopolitics, complicating the spatio-temporal logic of literary and artistic genres and of scholarly disciplines. The book takes the spiral not only as its topic but as its method. Drawing on the writings of Walter Benjamin and Alain Badi...
Melanie Smith
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Melanie Smith
Mexico participates in the artistic exchange offered by the 54th Venice Biennale with the work of Melanie Smith, who presentes three video pieces grouped together under the title "Red Square Impossible Pink", a concept that brings together three of her most recent works: "Aztec Stadium", "Xilitla" and "Bulto". The first of these is the visual document of an action arried out in the eponymous stadium, in which the artist elaborates a visual reflection on the idea of the faterland and the caos that accompanies revolutions. The second, "Xilita", is an experimental film shot in 35mm that explores the multiple meanings that a near mythical space in Mexico -a surrealist garden built in the middle of the Huasteca Potosina by the Englishman Edward James- holds today. Finally, "Bulto" is a piece originally commissioned by the Lima Art Museum, in which a bundle appears in different public spaces, participating in the widest variety of the city's dynamics.
Chromaform
In its exhilarating rebound into three dimensions, color is asserting itself with a forcefulness not seen since the 1960s. The sculptures in Chromaform: Color in Sculpture are not merely colored but are of and about color as much as they are about materials and space, the more traditional concerns of sculptors. Whether applied, stained, cast, or found, color plays an essential role in all this work, which cares as much for the decorative and sexual as it does for the formal potential of color. Sculpture in the 1990s, as the artists seen here make evident, embraces the perceptual union of color and form. Addressing the formal, conceptual, and metaphorical functions of color in sculpture, the works in this book reveal diverse results, limitless possibilities, and a shift toward a more interdisciplinary art.
