Mariana Castillo Deball

IXVOL3-coverIXVOL3spread

Ixiptla Vol. 3

Con contribuciones de Moosje M. Goosen, Anne Huffschmid, Pablo Katchadjian, Federico Navarrete Linares, Sandra Rozental, Carlos Sandoval, Adam T. Sellen, Anna M. Szaflarski y Laura Valencia Lozada.

Ixiptla III explora el legado arqueológico y de qué manera este se expresa, se contamina o se disuelve en el presente. Moosje M. Goosen cuenta la historia de un arqueólogo alemán en Acámbaro y su colección de dinosaurios de barro falsos; Anne Huffschmid otorga un panorama de la historia de la antropología forense y su importancia en el presente en México en relación al estudio de las numerosas fosas comunes y el caso de los 43 estudiantes desaparecidos de Ayotzinapa; Pablo Katchadjian nos pregunta ¿Qué hacer?; Paula López Caballero cuenta la historia de Luz Jiménez y su rol como traductora, modelo e interprete, para entender distintas nociones de indigeneidad; Federico Navarrete Linares comienza un diálogo entre el concepto de Bajtin del cronotropo histórico y la relación entre el tiempo y el espacio en el cronotropo mesoamericano; Sandra Rozental compara las diferencias de uso, categorización y exhibición de Spolia en forma de tepalcates en Coatlinchan y el Museo Etnográfico en Berlín; Carlos Sandoval crea un Anti Lego con una colección de fragmentos de piezas arqueológicas; Adam T. Sellen hace la anatomía de una falsificación; Anna M. Szaflarski dibuja nudos con distintos significados componiendo un cuerpo imposible; y Laura Valencia Lozada presenta el inicio de un diálogo epistolar con los familiares de los desaparecidos en México.

Volumen III de Ixiptla se publica en el marco de la exposición ¿Quién medirá el espacio, quién me dirá el momento? Museo de Arte Contemporáneo de Oaxaca, México.

¿Quién medirá el espacio, quién me dirá el momento? se sitúa en la delgada línea que divide nuestra relación con los objetos, con las historias que elaboramos en torno a ellos. El punto de partida fue un repertorio de objetos, algunos de ellos arqueológicos, otros mecánicos, lúdicos o sintéticos; que fueron seleccionados en el presente, junto con Innovando la tradición y el taller de cerámica Coatlicue en Atzompa, Oaxaca. La selección fue el sustento para imaginar una serie de historias, que ahora se alzan cual columnas en el espacio expositivo.

El concepto nahua de ixiptla se ha traducido como imagen, delegado, sustituto o representante. Ixiptla podía ser una estatua, una visión o la víctima que se convierte en el dios destinado al sacrificio. Los varios ixiptlas del mismo dios podían ocurrir de manera simultánea. Ixiptla deriva de la partícula xip: piel, cobertura, cáscara; es el contenedor, la presencia reconocible, la actualización de una fuerza imbuida en un objeto: un ser ahí, removiendo la distinción entre esencia y materia, original y copia.

Ixiptla is biannual journal on trajectories of Anthropology
Vol. I (English) was published on the occasion of Expedite Expression, 8th Berlin Biennale for Contemporary Art, Berlin, 2014.
Vol. II (English and German) was published on the occasion of Parergon, Hamburger Bahnhof Museum für Gegenwart, Berlin.
Vol. III (Spanish) was published on the occasion of Who will measure the space, who will tell me the time?, Museo de Arte Contemporáneo de Oaxaca.

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IXVOL1-coverIXVOL1spread

Ixiptla Vol. 1

With texts by Kythzia Barrera, Maria Gaida, Moosje M. Goosen, Pablo Katchadjian, Paula López Caballero, Federico Navarrete Linares, Victoria Novelo Oppenheim, Sandra Rozental, Carlos Sandoval, Adam T. Sellen, Anna Szaflarski

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 doppelgänger 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.

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Uncomfortable Objects
Mariana Castillo Deball

Roberto Calasso, in his essay “The Madness That Comes From the Nymphs,” relates how the first being Apollo addressed on Earth was a nymph. Her name was Telephassa, and she immediately tricked the god. Nymphs can be both saviors and devastators. They have an unpredictable character; they are powers who act suddenly, capturing and transforming their prey. Each of these invasions signals a metamorphosis. And each metamorphosis represents the acquisition of knowledge: a narrative possession.

“Uncomfortable Objects” belong to this category of creatures: products of desire, research, or imagination, they compel us to follow them, and to look through their eyes, until we are captured in their twisted nets and fall out of language.

Published on the occasion of the exhibition Zurich Art Prize 2012: Mariana Castillo Deball Museum Haus Konstruktiv, Zurich, September 27 – November 18, 2012.
Born 1975 in Mexico City, Mariana Castillo Deball lives and works in Berlin and Amsterdam.

With texts by Mariana Castillo Deball, Jimena Canales, Laurent Bartholdi, Abraham Cruzvillegas, Mario Bellatin, Daniel Saldaña, Victoria Cirlot

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Dot Dot Dot 16

A W.A.S.T.E. of Ink (after Thomas Pynchon)

DDD16 was conceived parallel to—and is issued from under the wing of—the project ‘True Mirror’, directed from the Commander’s Room at the 7th Regiment Armory Building, New York between 4–23 March, 2008 and tracked at http://www.sinisterdexter.org. On reflection, we realised real news doesn’t need a press release.

The issue then draws liberally from three other interlocking projects, all founded by guest-co-editor Raimundas Malašauskas.

In this issue:

– For Immediate Release by Michael Bracewell
– Phantom Rosebuds (Signatures A and B) by Clifford Irving, Portrait by Jason Fulford
– Another Shadow Fight – David Osbaldeston in conversation with Andrew Hunt
– Two-way Mirrors – Reflections on Nabokov’s Pale Fire by Louis Lüthi
– On C  by Cory Arcangel
– Indifferent Voices by Paul Elliman
– 51.01 – Guest Editorial by Raimundas Malašauskas
– Stanislaw Lem’s short story ‘The Seventh Voyage’, as recalled while flying over the Atlantic from Moscow to Newark, July 3, 2007 by Larissa Harris
– Screen, saver (Part 1) by David Reinfurt
– Middle by Gintaras Didžiapetris
– Screen, saver (Part 2) by David Reinfurt
– Parallel Cards by Ryan Gander
– 10.15 by Tom Morton
– Honey Coma by Steven Francis
– 100. General Stumm invades the State Library and learns about the world of books, the librarians guarding it, and intellectual order – A close reading of Robert Musil by Rob Giampietro
– Inversions by Mariana Castillo Deball
– Vested Interest – Genesis Breyer P-Orridge in conversation with Mark Beasley
Portrait by Alex Klein
– Phantom Rosebuds (Signatures C and D) by Clifford Irving
plus
Mitim (Zeta) by Radim Peško
(Vera courtesy of Louis Lüthi, after Nabokov)
and
The Middle of Nowhere, Chapter 6 (continued) by Will Holder

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