Do ut des (I give that you may give back)

2009 - Sculpture (Sculpture)

Mariana Castillo Deball

location: Amsterdam & Berlin
year born: 1975
gender: female
nationality: Mexican
home town: Mexico City, Mexico

Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened. The books belong to O Mundo dos Museus (The World of Museums), a collection conceived by the Brazilian designer Eugênio Hirsch in the 1970s. More than simply a catalogue of artworks, each offers the reader a promenade through a different world museum and its functioning, starting with photo reportage of the building, its urban landscape and architecture, the management and restoration of works, and visitors walking though the galleries. Collaged images of people alongside artworks indicate the works’ dimensions in relation to the human scale. The act of drilling into different institutional representations is a direct intervention into history itself, inviting us to question its representation. The title refers to a Latin phrase that applies to civil law, roughly translating as “I give that you may give back.” This allusion to a form of exchange, negotiation, and reciprocity applies as much to the relationship between the artist and the audience as to that between the artist and the object. The implication that the artist is giving the viewer something so that she will receive something back demands a level of critical reflection and interaction with the work. With these books, Deball infers that history gives these representations to us so that we can detour from them.


The practice of Mariana Castillo Deball (b. Mexico City, 1975) is centered on intensive research. In weaving together perceived facts and legends, the artist deconstructs how we understand tradition, liberating content from imposed ideological legacies. Mariana Castillo Deball’s collaborative research—in particular in the domain of science, geology, archaeology and literature—is manifested and synthesized into her multimodal sculptural practice. The archive is a significant aspect of the artist’s practice, whereby the research conducted in the creation of her sculptures is culminated, catalogued and preserved. Deball is not only interested in traces of the past, her multidisciplinary approach allows her to study the different ways in which a historical object can be read today.


Colors:



Karachi Series 1 (Chandra Acarya, 7:50pm, 30 August 2008, Ramadan, Karachi)
© » KADIST

Bani Abidi

2008

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Death at a 30 Degree Angle
© » KADIST

Bani Abidi

2012

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

One Minute To Act A Title: Kim Jong Il Favorite Movies
© » KADIST

Mario Garcia Torres

2005

Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...

El hombre que hizo todas las cosas prohibidas
© » KADIST

Carlos Amorales

2014

Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...

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¿Quién medirá el espacio, quién me dirá el momento?, 1 (columna alfarero)
© » KADIST

Mariana Castillo Deball

2015

Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...

Karachi Series 1 (Chandra Acarya, 7:50pm, 30 August 2008, Ramadan, Karachi)
© » KADIST

Bani Abidi

2008

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

Death at a 30 Degree Angle
© » KADIST

Bani Abidi

2012

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

Espectacular cortina
© » KADIST

Pia Camil

2012

Camil has made numerous paintings and photographs of halted projects along Mexico’s highways (she calls them “highway follies”), and of abandoned billboards that look like theater curtains dramatizing failed capitalist strategies...

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RA Architecture Prize Winner 2023: Shane de Blacam
© » ROYAL ACADEMY

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Matthieu Laurette — Une rétrospective dérivée (1993-2023)
© » SLASH PARIS

Matthieu Laurette — Une rétrospective dérivée (1993-2023) — MAC VAL Musée d'art contemporain du Val-de-Marne — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Matthieu Laurette — Une rétrospective dérivée (1993-2023) — MAC VAL Musée d'art contemporain du Val-de-Marne — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Matthieu Laurette — Une rétrospective dérivée (1993-2023) Exposition Techniques mixtes Matthieu Laurette, Self-Portrait, 2014/2023...

Bronx Museum Trustee and Collector Richard Torres on Supporting Artists of Color, and the Picasso He’d Most Love to Pilfer - via artnet news
© » LARRY'S LIST

We caught up with Richard Torres, a collector and board member at the Bronx Museum of the Arts, about what he has at home....

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The Left Hand Can't See That the Right Hand is Blind
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Douglas Gordon

2004

Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...

Blind Spencer (Mirror)
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Douglas Gordon

2002

Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...

Shanghai Biennale Awaiting Your Arrival
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Xu Tan

2000

Shanghai Biennale, Awaiting Your Arrival is an appropriation of the posters made to promote biennial art exhibitions...

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¿Quién medirá el espacio, quién me dirá el momento?, 1 (columna alfarero)
© » KADIST

Mariana Castillo Deball

2015

Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...

Mimbres pottery kill hole sequence
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Mariana Castillo Deball

Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...

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Foreigners Everywhere (Italian)
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Claire Fontaine

2006

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What a fucking wonderful audience
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Dora Garcia

2008

Dora Garcia’s work is a result of institutional critique and more generally that of language, following the conceptual artists of the 1960s like Weiner and Kosuth and Fraser from the 1980s and 1990s...

The Individual Is a Mirage
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Erick Beltran

2010

In his posters, prints, and installations, Erick Beltrán employs the language and tools of graphic design, linguistics, typography, and variations in alphabetical forms across cultures; he is specifically interested in how language and meaning form structures that can be misconstrued as universal...

Klau Mich
© » KADIST

Dora Garcia

2012

KLAU MICH is a TV and performance project by Dora García with Ellen Blumenstein, Samir Kandil, Jan Mech, TheaterChaosium, and Offener Kanal Kassel, during the 100 days of dOCUMENTA (13)....

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Chinese New Year red packets: everything you need to know about giving and receiving lai see, from who and when to how much
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Chinese New Year red packets: everything you need to know about giving and receiving lai see, from who and when to how much | South China Morning Post Advertisement Advertisement Chinese culture + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more The Lunar New Year tradition of giving red packets (lai see in Cantonese) dates back centuries, and was originally meant to ward off evil spirits...

World Theatre Day: Tribute to Singapore shows affected by COVID-19
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