castillo deball (56 Ergebnisse)

Paperback. Zustand: Very Good. Very Good - Crisp, clean, unread book with some shelfwear/edgewear, may have a remainder mark - NICE Standard-sized.

Paperback. Zustand: Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD PAPERBACK Standard-sized.

Paperback. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Zustand: New. Kaleidoscopic Eye departs from an argument between André Breton and Roger Caillois. The confrontation arose from their discovery of Mexican jumping beans -beans that make sudden movements and leap into the air. Caillois conjectured that larva or some other animal was making the beans move. Breton rejected his theory, accusing Caillois of being a closed-minded positivist who negated the marvellous and the poetic in his attempt to find a rational explanation. For Breton, absolute or objective chance blurred the borders of rationality, proffering a chaotic and stimulating universe: convulsive beauty. Caillois wrote a letter ending the relationship with Breton, declaring his attempt to reconcile research with beauty. Caillois sought to examine chance, chaos, and the irrational with the goal of finding a pattern similar to the structure of coral. T his structure should combine, in one system, everything that had until then been systematically excluded-a structure capable of taking into consideration all the possible forms of reality. Kaleidoscopic Eye was first published as part of the exhibition Kaleidoscopic Eye, in 2009 at Kunst Halle Sankt Gallen, now republished in its second edition.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Zustand: new. Paperback. Kaleidoscopic Eye departs from an argument between Andre Breton and Roger Caillois. The confrontation arose from their discovery of Mexican jumping beans beans that make sudden movements and leap into the air. Caillois conjectured that larva or some other animal was making the beans move. Breton rejected his theory, accusing Caillois of being a closed-minded positivist who negated the marvellous and the poetic in his attempt to find a rational explanation. For Breton, absolute or objective chance blurred the borders of rationality, proffering a chaotic and stimulating universe: convulsive beauty. Caillois wrote a letter ending the relationship with Breton, declaring his attempt to reconcile research with beauty. Caillois sought to examine chance, chaos, and the irrational with the goal of finding a pattern similar to the structure of coral. T his structure should combine, in one system, everything that had until then been systematically excludeda structure capable of taking into consideration all the possible forms of reality. Kaleidoscopic Eye was first published as part of the exhibition Kaleidoscopic Eye, in 2009 at Kunst Halle Sankt Gallen, now republished in its second edition. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New.

Paperback. Zustand: New. The word amarantus, which gives name to this publication, comes from the Greek a????????, and describes a flower that never wilts. This plant is still used to prepare ixiptlahuan, which are anthropomorphic and zoomorphic figures that are ritually consumed by some indigenous peoples in Mexico. The amaranth flower represents the persistence of the "uncomfortable objects" that Castillo Deball makes visible in her historical itineraries and approximations, and that keep speaking to us in the present.Ever since her early works, the artist has explored how chance - a product of the passing of time, erosion, fragmentation, and human intervention, among other factors - determines, to a large extent, the way we learn about the world and the narratives we create. This interest has led her to investigate the history of certain artifacts and their vicissitudes, reproductions, appropriations, and disappearances. Her formal strategies tend to reflect an inclination toward methodologies used by archaeologists to "trap" their findings. The resulting objects, or substitute images, conceptually approach the ancient Nahua notion of ixiptla, which can be interpreted as representation, image, and substitute, but also as skin. This concept is indispensable for approaching many of Castillo Deball's projects from the past decade.This publication features some of the artist's long-term collaborators and interlocutors, including: Tatiana Falcón, with whom she made The Painter's Garden; the organization Cooperación Comunitaria for The Double Life of the Azoyú Codex; Diana Magaloni around the term ixiptla and In Tilli in Tlapalli; Hubert Matiúwàa, through poems from his book Skin People; Barbara Mundy on cartography and the artist's floor pieces; Jennifer Reynolds-Kaye on Alfred Maudslay; and Catalina Lozano about the history of women who have practiced archaeology in Mexico. The publication also includes the essay A Dystopic Mesoamerica by Yásnaya Elena and an excerpt of Emiliano Monge's novel Weaving Darkness.

Paperback. Zustand: new. Paperback. The word amarantus, which gives name to this publication, comes from the Greek amaranoos, and describes a flower that never wilts. This plant is still used to prepare ixiptlahuan, which are anthropomorphic and zoomorphic figures that are ritually consumed by some indigenous peoples in Mexico. The amaranth flower represents the persistence of the uncomfortable objects that Castillo Deball makes visible in her historical itineraries and approximations, and that keep speaking to us in the present.Ever since her early works, the artist has explored how chance a product of the passing of time, erosion, fragmentation, and human intervention, among other factors determines, to a large extent, the way we learn about the world and the narratives we create. This interest has led her to investigate the history of certain artifacts and their vicissitudes, reproductions, appropriations, and disappearances. Her formal strategies tend to reflect an inclination toward methodologies used by archaeologists to trap their findings. The resulting objects, or substitute images, conceptually approach the ancient Nahua notion of ixiptla, which can be interpreted as representation, image, and substitute, but also as skin. This concept is indispensable for approaching many of Castillo Deballs projects from the past decade.This publication features some of the artists long-term collaborators and interlocutors, including: Tatiana Falcon, with whom she made The Painters Garden; the organization Cooperacion Comunitaria for The Double Life of the Azoyu Codex; Diana Magaloni around the term ixiptla and In Tilli in Tlapalli; Hubert Matiuwaa, through poems from his book Skin People; Barbara Mundy on cartography and the artists floor pieces; Jennifer Reynolds-Kaye on Alfred Maudslay; and Catalina Lozano about the history of women who have practiced archaeology in Mexico. The publication also includes the essay A Dystopic Mesoamerica by Yasnaya Elena and an excerpt of Emiliano Monges novel Weaving Darkness. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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Zustand: New.

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Paperback. Zustand: new. Paperback. The Nahua concept of ixiptla derives from the particle xip, meaning skin, coverage or shell. A natural outer layer of tissue that covers the body of a person or animal, the skin can be separated from the body to produce garments, containers for holding liquids or parchment as a writing surface.Originally a Nahua word, ixiptla has been understood as image, delegate, character, and representative. Ixiptla could be a container, but also could be the actualization of power infused into an object or person. In Nahua culture, it took the form of a statue, a vision, or a victim who turned into a god destined to be sacrificed. Without having to visually appear the same, multiple ixiptlas of the same god could exist simultaneously. The distinction between essence and material, and between original and copy vanishes.This edition of Ixiptla is focused on the trajectory of objects collected and produced by archeologists plaster molds, facsimiles, drawings, photographs, and scale models , in an attempt to capture and replicate material evidences left by time; these objects emerge from a specific moment in time, producing a doppelgaenger of the original milieu, which then takes its own course. For this first issue, a group of anthropologists, archaeologists, artists, and writers have been invited to reflect on the role of the model, the copy, and reproduction in their areas of research and practice.Ixiptla is a new biannual journal about trajectories of Anthropology, it has been initiated by the artist Mariana Castillo Deball. The first issue is published on the occasion of Expedite Expression, 8th Berlin Biennale for Contemporary Art, Berlin, 2014. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Zustand: New.

Zustand: New.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. 2023. paperback. . . . . .

Zustand: New.

paperback. Zustand: New.

Paperback. Zustand: New. First edition. 239p., color plates, facsimiles, dustjacket, wrps. The word amarantus, which gives name to this exhibition catalogue, comes from the Greek ?µ??a????, which describes a flower that never dieslike amaranth, which never wilts. This plant is still used to prepare ixiptlahuan, anthropomorphic and zoomorphic figures that areritually consumed by some indigenous peoples in Mexico. The amaranth flower represents the persistence of these "uneasy objects" that Castillo Deball makes visible in her historical itineraries and approximations, and which keep speaking to us in the present.

Zustand: New. 2023. paperback. . . . . . Books ship from the US and Ireland.

Zustand: New.

Zustand: New. In.

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Zustand: New.

Illus., 9.5 x 6.25", pict wraps, 239pp, covers with just some minor edge wear else a nice, clean copy. Sponsored by the Utrech University Museum / Uqbar Foundation. ISBN: 9781933128337.