¿Quién medirá el espacio, quién me dirá el momento?, 1 (columna alfarero)
2015 - Sculpture (Sculpture)
430 cm
Mariana Castillo Deball
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. The sculpture, employing the technique of traditional Atzompa pottery originating from Oaxaca, Mexico, is an examination of the way in which archaeological heritage is remembered in the earthenware made by Atzompa potters today. Accompanied by the publication ‘Ixiptla Vol. 3’, the edition examines imposed meaning on replications in the form of the plaster molds, photographs, drawings, scale models and facsimiles made by archaeologists in the effort for conserving lost objects. The artist’s selection of shapes and forms reference her research in the permanent collection held at Rufino Tamayo Museum and is the basis for imagining a series of stories relating to Atzompa history. In that sense, the columns contain fictitious or historical figures, weaving together an intricate network in which they coincide in space and converse in time (snake, pochote and ceiba – a subtropical tree, warriors, mother earth or pottery are just a few examples). “Who will measure the space, who will tell me the time?” is a sculptural exquisite corpse, a form of an infinite column that offers a temporal space for interpretation and reflection.
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:
Related works featuring themes of: » Artist as Ethnographer, » Collecting and Modes of Display, » Collective History, » Contemporary Archaeological, » Mexican
» see more
© » KADIST
Bani Abidi
2008The 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 ...
© » KADIST
Bani Abidi
2012The 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...
© » KADIST
Mario Garcia Torres
2005Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Other related works, blended automatically
» see more
© » KADIST
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...
© » KADIST
Bani Abidi
2008The 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 ...
© » KADIST
Bani Abidi
2012The 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...
© » KADIST
Charwei Tsai
2008Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo...
Related works sharing similar palette
» see more
© » FAD MAGAZINE
Empowering the Next Generation of Diverse Leaders with Cultural Leaders Programme - FAD Magazine Skip to content By Mark Westall • 26 January 2024 Share — Culture& and Sotheby’s Institute of Art, in collaboration with Gallery OCA , announce Together We Thrive , a fundraising exhibition for the Cultural Leaders Programme...
Related works from the » 2010's created around » Amsterdam & Berlin
» see more
© » KADIST
Haegue Yang
2010In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger...
© » KADIST
Oliver Laric
2012Oliver Laric’s video Versions is part of an ongoing body of work that has continued to evolve and mutate over time...
Other works by: » Mariana Castillo Deball
» see more
© » KADIST
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...
© » KADIST
Mariana Castillo Deball
2009Do 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...
Related artist(s) to: Mariana Castillo Deball » Falke Pisano, » Dora GarcíA, » Will Holder, » Adriana Lara, » Claire Fontaine, » Danh Vo, » Dani Gal, » Douglas Gordon, » Erick Beltrán, » Frances Stark
» see more
© » KADIST
Claire Fontaine
2006Foreigners Everywhere is a series of neon signs in several different languages...
© » KADIST
Dora Garcia
2008Dora 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...
© » KADIST
Douglas Gordon
1996In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
© » KADIST
Erick Beltran
2010In 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...
Related works found in the same semantic group
» see more
© » KADIST
siren eun young jung
2018Deferral Archive is one of the archival extensions of siren eun young jung’s Yeoseong Gukgeuk Project (2008-), a decade-long ethnographic research project into the diminishing genre of Korean traditional theater known as Yeoseong Gukgeuk ...