Dominó canibalis proposed as a counter-model to the usual types of artistic participation, presenting it as a platform made up of overlaps and discontinuities between various artists who engage with one another successively and in stages in the same space, cannibalizing (reinterpreting, demolishing and appropriating) the work of the other participants.The relationship between dominos and cannibalism is not as gratuitous as it may seem. On the one hand, the Manifiesto antropófago (Cannibal Manifesto), written in 1928 by the Brazilian poet Oswald de Andrade, suggested cannibalism as a metaphor for rebellion against the myths of originality and cultural identity. And on the other hand, the game of dominoes is itself the product of the successive cannibalization of its components: it is a truly trans- cultural object. Based on Chinese dice games, and taken, like pasta, to Italy, it ended up spreading with the Iberian colonization of the new world and become the most popular table game in Latin American societies.The aim of Dominó caníbal is to bring together all this imagery by inviting a group of artists – Jimmie Durham, Cristina Lucas, Bruce High Quality Foundation, Tania Bruguera and Francis Alÿs among others – to act in a space established not in terms of autonomy and individual identity but rather as a venue for ongoing negotiation between languages, materials and aesthetics.
Dominó Caníbal
Edited by Cuauhtémoc Medina256pp./ 17x24cm./ 240il./ softcover with jacket
ISBN:
|
9788434312623 9788434312630 |
English Castellano |
30.00€
A leading figure in the baroque Spanish tradition — alongside El Greco, Velázquez and Zurbarán — José Ribera’s style was the most markedly tenebrist; he was also one of the first artists to be both a painter and printmaker. In his earlier style, sometimes drawing on Caravaggio and sometimes on Guido Reni’s various techniques, his study of Spanish and Venetian masters can be traced. Along with his massive and predominant shadows, one of his strongest points throughout his career was the use he made of color. In the early 1630s his style moved away from strong contrasts of dark and light to the use of more diffused and golden lighting. Javier Portús, chief curator of the Spanish Baroque art department at the Museo del Prado, takes a fresh look at Ribera’s career, focusing his research on the early years, less studied by art historians till date.
Ribera
Javier Portús128pp./ 21.5x28cm./ 104il./ hardcover with jacket
ISBN:
|
9788434312692 9788434312708 |
Castellano English |
24.50€
The Institute of Contemporary Art, designed by Diller + Scofidio (now Diller Scofidio + Renfro), was the first new art museum to be built in Boston in a century. Opened in December 2006, the ICA is located on a small parcel of land on Boston Harbor and this is the 25th location for the museum in its 75 year history and its first, permanent, free-standing home."The ICA's decision to hire Diller + Scofidio reflected our belief in the firm's vision that architecture can shape as well as reflect contemporary experience," stated Jill Medvedow, director of ICA. The architects balanced use of cool and transparent glass with the warmth of wood and the energy of light, as well as their design of spare, flexible spaces for presenting contemporary art, was a revelation for a city and an architectural community."Their brilliant and beautiful design of the ICA was a harbinger of change: edgy, bold and breathtaking, transforming the landscape for contemporary art and culture in Boston and for the artists, art and ideas of our time," Medvedow has said.
80pp./ 14x21cm./ 62il./ paperback with flaps
ISBN:
| 9788434312807 | English |
19.50€
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