Drawing & Print (Drawing & Print)

Shanghai Biennale, Awaiting Your Arrival is an appropriation of the posters made to promote biennial art exhibitions. Displayed alongside the marketing posters of official biennials (Shanghai, Berlin, Venice, etc.) Displayed alongside the official marketing materials of biennials (Shanghai, Berlin, Venice, etc.)

Drawing & Print (Drawing & Print)

Biennale, Dog is an appropriation of the posters made to promote biennial art exhibitions. Displayed alongside the official marketing materials of biennials (Shanghai, Berlin, Venice, etc.) Xu’s works provide a satiric and provocative alternative to the official system and make publicly visible images of many realities.

Sculpture (Sculpture)

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.

Installation (Installation)

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. They are playful and exaggerated representations of “kill hole pottery” — ceramic dishes in the Mimbres tradition with distinct circular holes located in the center of the pots. Although very little is known about the Mimbres culture’s specific beliefs, they are loosely understood to have terminated the object symbolically in preparation for funerary use.

Sculpture (Sculpture)

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.