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.
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 ...
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...
Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
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 ...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
Fabiola Torres-Alzaga plays with magic, illusion, and sleight-of-hand, fabricating installations, drawings, and films that toy with our perceptions...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...
The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...
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...
Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval...