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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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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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Nina Canell
Satin Ions


Texts by Hu Fang, Jenny Jaskey, Hyo Gyoung Jeon, Fionn Meade, Hyunjin Kim, Sung Hwan Kim, Kari Rittenbach, Anja Isabel Schneider, Monika Szewczyk, Jason Wirth, concept by Nina Canell and Robin Watkins, edited by Hyunjin Kim, Hyo Gyoung Jeon

For Canell there is no mediation that is lossless—an output is never the pure transmission of a source—but always as much the distance it has travelled, the things it has come in contact with or bounced with or off. She is interested in the consistency of distances that can be traced through an arbitrary sense of material precision: utilising water, viscosity, synthetic carpets, electricity, surface tension, stray socks and chewing gum. This consistency, at times imperceptible and at times palpable, is what the artist describes as “an extra-linguistic or non-verbal modulation of content—articulating the impurities of a medium or assemblage.”

For her first solo exhibition in Asia, Canell made research into the production and distribution of fiber optic sheaths in the outskirts of Seoul, where cable mounds are sorted according to colour and eventually remoulded into the synthetic circumferences of future relations. Literally caught in between melting and being repurposed, several hundred meters of gutted sheaths are compressed into dense lumps of immaterial distance. The accompanying book consists of ten short new texts around which fragments of communication with the authors have been punctuated by observational photographs and sculptural documentation. Contextualized by both recent and earlier works, the exhibition and book considers sculpture as a medium of storage, transmission and reception.

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k.m Exhibitions/Ausstellungen 2010-2015
Bart van der Heide, Manuel Raeder (Eds.)

 

Edited by Bart van der Heide and Manuel Raeder.

This book is an overview of the exhibition program of Bart van der Heide from 2010 – 2015, which he realised as the director of Kunstverein München. This program includes exhibitions by Silke Otto-Knapp, Ian Kiaer, Tobias Madison, Keren Cytter, Cathy Wilkes, Group Affinity, Willem de Rooij, Trisha Baga, Richard Tuttle, Mei-mei Berssenbrugge, Simon Denny, Nicolas Ceccaldi, Ger van Elk, James Richards, and others. Each exhibition is presented by a corresponding booklet, containing all texts and images. These accompanying publications were designed individually for each exhibition in cooperation with Studio Manuel Raeder. The different designs play with various fonts, formats, and graphic elements. Together with these publications, a variety of coloured images of exhibition views conveys the curatorial direction as well as the identity of the Kunstverein in those years. A reflection by Bart van der Heide and all booklet texts are included in both German and English.

designed by Studio Manuel Raeder

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