Published by Walther König, Köln. Text by Alpha Escobedo, Leobardo Alvarado, Rein Wolfs, Letizia Ragaglia.
The sculptures of Mexican artist Teresa Margolles (born 1963) superficially evoke the cool neutrality of minimalist art, but turn out to be deeply freighted with political content. Her Spartan sculptures, often connoting medical conditions, explore the chaos of her country’s drug wars and point to a more general tabooing of death and violence. This volume looks at her recent works.
Published by RM. Edited by Cuauhtémoc Medina. Text by Taiyana Pimentel, Elmer Mendoza, Ernesto Diazmartínez, Teresa Margolles, Antonio Escohotado, Mariana Botey.
According to press reports, more bullets were fired in Mexico in 2008 than in any other year in recent history. What Else Could We Talk About? gathers Teresa Margolles' reflections on the crusade against drugs, revealing some tangled and murky interconnections.
Published by Walther König, Köln. Text by Heriberto Yepez, Nike Bätzner, Patrizia Dander.
The Mexican artist Teresa Margolles presents delicate remnants of threads that were used to sew up bodies after their autopsies. Each of 127 threads represents a particular person who died a violent death. The work explores the role of memory, the past and social, political and economic issues.
Published by Hatje Cantz Publishers. Essays by Santiago Sierra, Udo Kittelmann, Elmer Mendoza and Gabriela Jauregui.
The work of Mexican artist Teresa Margolles revolves around what is perhaps the last great taboo topic of our time: death. Her approach is even more daring, for she is not interested in folklore and ritual but in the palpable reality of the corpse. “What does a corpse have to go through?” wonders Margolles, who is also a forensic medical assistant and a scholar in the field of communications. Employing a minimalist aesthetic, she transforms extinguished life, rendering it perceptible through artistic intervention, thereby rescuing “her” decedents from anonymous oblivion. This first publication devoted to Margolles' work presents an examination of her place in art history by Gabriela Jauregui, concluding remarks by the Spanish artist Santiago Sierra, and a literary text by the Mexican crime novelist Elmer Mendoza. His short story, written in experimental prose, offers impressions of life in Culiacan, one of the bastions of the narcotics business in Mexico.