Introduction by Philip Monk. Text by Raqs Media Collective, Svetlana Boym, Kaushik Bhowmik, Alexander Keefe, Anders Kreuger, Molly Nesbit, Hans Ulrich Obrist, Parul Dave Mukherji, Jonathan Watkins, Elena Bernardini, Srinivas Aditya Mopidevi, Cuauhtémoc Medina, Theodor Ringborg, Cédric Vincent.
Pbk, 6 x 9.5 in. / 300 pgs / 120 color. | 9/30/2014 | In stock ISBN 9780921972686 | $30.00
Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Clothbound, 7.75 x 9.5 in. / 320 pgs / 250 color. | 3/2/2003 | Not available ISBN 9781888302004 | $29.98
Published by RM. Edited and with text by Susana Vargas. Foreword by Cuauhtémoc Medina.
The results of detailed research from Susana Vargas and art critic Cuauhtémoc Medina, Mujercitos gathers photographs of men dressed as women featured in the periodical Alarma!, known as a nota roja or "red page" newspaper for its bloody content, from the 1960s to the 1980s. This volume collects a selection of key Mexican newsprint tearsheets, with the original layout and typography, each of which represents a mujercito, or "effeminate man," in a highly sexualized, objectified way. Vargas' contextualizing research explores the ways in which these photographs, printed in sensationalistic "true-crime" newspapers, participate in the larger national imaginary of non-normative sexualities in Mexico. In studying these representations of mujercitos, Vargas further traces Anglo-North American theories of gender/sex performativity onto Mexican society, only to discover the multitude of ways in which the relation between gender, sex, sexual orientation and desire is permeated with concerns of race and class in Mexican culture.
Published by Art Gallery of York University. Introduction by Philip Monk. Text by Raqs Media Collective, Svetlana Boym, Kaushik Bhowmik, Alexander Keefe, Anders Kreuger, Molly Nesbit, Hans Ulrich Obrist, Parul Dave Mukherji, Jonathan Watkins, Elena Bernardini, Srinivas Aditya Mopidevi, Cuauhtémoc Medina, Theodor Ringborg, Cédric Vincent.
This book documents 80 artworks and projects by New Delhi–based Raqs Media Collective (Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta) from 2002–2012. The collective executes a wide spectrum of projects, ranging from full-scale curatorial works to discrete objects such as prints.
Published by RM. Text by Cuauhtémoc Medina, Edgar Hernández, Inbal Miller, Guillermo Santamarina.
Surveying Mexico’s contemporary art scene between roughly 2000 and 2010, this book shows how artists living in Mexico City have stepped beyond the museum and gallery circuits and developed their own contexts for the dissemination of their work by repurposing the city’s public spaces. These artists tend to emphasize relational dimensions, soliciting participation and dialogue in their audiences. Most of the works documented here are ephemeral, making this volume an important resource for a fascinating period in Mexico’s art culture. Among the 136 artists and collectives--both Mexican and foreign--who have created some 200 works in Mexico City over the period of a decade are Francis Alÿs, Minerva Cuevas, Damian Ortega, Abraham Cruzvillegas, Gabriel Kuri, Carlos Amorales, Teresa Margolles, Lourdes Grobet, Jimmie Durham, Fernando Ortega and Thomas Galssford.
Published by Turner. Edited by Octavio Zaya. Text by Cuauhtémoc Medina, Philip Ursprung, Ole Bouman.
Spanish artist Lara Almarcegui’s installation at the 55th Venice Biennial 2013 revolved around a huge mountain of cement rubble, roofing tiles and bricks smashed into gravel, surrounded by smaller, similar mounds of other materials. This volume documents the work.
Published by Turner. Text by Cuauthémoc Medina, Olivier Debroise.
This comprehensive, 470-page survey of artistic experimentation in late twentieth-century Mexico, first published in 2007, assesses fields as diverse as painting, photography, poster design, installation, performance, experimental theater, Super-8 film, video, music and poetry. It also reconstructs ephemeral works (with the support of the artists). The three tumultuous decades between 1968 and 1997 saw the end of the PRI (Institutional Revolutionary Party) in a violent final phase that began with the 1968 Tlatelolco massacre--which brought a brutal end to the student movement of 1968--and ended with the crises that followed the 1994 Zapatista uprising in Chiapas. The Age of Discrepancies is the first visual history to cover this exciting period, and to propose a genealogy for the work that emerged from it, which is coming under increased scholarly scrutiny.
Published by Silvana Editorale. Text by Cuauhtémoc Medina, Dawn Ades, Katerina Gregos.
The 2012 Manifesta--the nomadic European Biennial of Contemporary Art--explores the impact that industrial practices such as the production of coal have had on some of the most innovative artists of the twentieth and twenty-first centuries. This catalogue to the biennial is loosely based on the format of an encyclopedia.
BOOK FORMAT Paperback, 6.75 x 9.5 in. / 320 pgs / 200 color.
PUBLISHING STATUS Pub Date 10/31/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 179
PRODUCT DETAILS ISBN 9788836623266TRADE List Price: $50.00 CDN $60.00
Published by Cosac Naify. Text by Cuauhtémoc Medina, Alfonso Reyes, Ton Marar.
For the past ten years, video camera in hand, Francis Alÿs has chased tornados in the highlands south of Mexico City, hoping to access and film the literal eye of the storm. This volume, full of scrapbook and ephemera appeal, compiles Alÿs' notes, drawings, paintings, press clippings and writings for his film Tornado.
PUBLISHER Cosac Naify
BOOK FORMAT Paperback, 6.75 x 8.75 in. / 152 pgs / 87 color.
PUBLISHING STATUS Pub Date 3/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2011 p. 146
PRODUCT DETAILS ISBN 9788575039427TRADE List Price: $45.00 CDN $55.00
Published by Walther König, Köln. Edited and with introduction by Kitty Scott. Texts by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina, Lourdes Morales.
The postwar ascent of the curator as both cultural broker and creative participant in the work of art has seen the discipline acquire a brief but rich history of its own, peopled with names that already seem the stuff of legend (Johannes Cladders, Pontus Hulten, Harald Szeemann). Raising Frankenstein: Curatorial Education and Its Discontents unites curatorial studies with the increasingly debated subject of "the educational turn." Edited by Kitty Scott, whose own career as a curator of contemporary art has taken her from the National Gallery in Ottawa to the Serpentine Gallery in London and the Banff Centre in Alberta, it presents a collection of essays that explores the education and formation of curators. Writings on curatorial pedagogy by Barbara Fischer, Teresa Gleadowe, Francesco Manacorda, Cuauhtémoc Medina and Lourdes Morales offer an overview of recent thought on curatorial pedagogy, elucidating, defining and building on current debates surrounding this subject.
Published by Ediciones Polígrafa. Edited by Cuauhtémoc Medina.
Staged in the eighteenth-century convent church Sala Verónicas, the year-long exhibition project Dominó Canibal invited a succession of artists to create his or her work based on that of the preceding artist, either destroying, appropriating or reinterpreting it. Jimmie Durham was followed by Cristina Lucaas, The Bruce High Quality Foundation, Tania Bruguera, Rivane Neuenschwander and Francis Alÿs.
Published by The Museum of Modern Art, New York. Edited by Mark Godfrey, Klaus Biesenbach. Text by Eduardo Abaroa, Klaus Biesenbach, Francesco Careri, Carla Faesler, Mark Godfrey, Boris Groys, Miwon Kwon, Tom McDonough, Cuauhtémoc Medina, Laymert Garcia dos Santos, Eyal Weizman.
Working in a variety of media and a range of scales, from humble works on paper to monumental staged performances, Francis Alÿs (born 1959) has established himself as one of the world's leading contemporary artists. Based in Mexico City since 1986, the artist fashions much of his work from the street life he observes during long walks throughout the city. Bringing together a variety of participants, from Mexican sign-painters to British Guardsmen, his collaborations have produced several well-known works, including "When Faith Moves Mountains" (2002), in which he enlisted 500 volunteers to attempt to move a sand dune one foot from its original position using shovels, and "The Modern Procession" (2002), a ceremonial procession commemorating MoMA's temporary move to Queens, New York, that included a brass band and uniformed participants carrying reproductions of the Museum's most famous works across the Queensboro bridge. Published to accompany the largest retrospective of Alÿs' work to date, this publication is more a guidebook than a conventional monograph, reflecting the spirit of the artist's wandering practice. It features an introductory essay by Mark Godfrey, a curator at the Tate Modern, an index of quotes from Alÿs' previous writings and interviews compiled by Klaus Biesenbach, Director of P.S.1 Contemporary Arts Center, and descriptions of works written by Alÿs and Cuauhtémoc Medina, freelance curator and art critic, as well as responses to the artist's work from a wide range of critics and commentators.
Published by JRP|Ringier. Edited by Sigismond de Vajay. Text by Cuauhtémoc Medina, Andrea Giunta, Pedro Denoso.
Of Bridges & Borders celebrates the opening up of communication ("bridges") among writers and artists worldwide following the collapse of the Berlin Wall (the primary border referred to in the title), to mark the emergence of a new collective memory in the age of global connectivity. Described as "a project in book form," its numerous contributors include Carlos Amorales, John Bock, Chris Burden, Matias Duville, Gardar Eide Einarsson, Elmgreen & Dragset, Carlos Garaicoa, Liam Gillick, Fabrice Gygi, Thomas Hirschhorn, Hassan Khan, Guillermo Kuitca, Dr. Lakra, Gianni Motti, Antoni Muntadas, Carsten Nicolai, Alva Noto, Hans Op de Beeck, Dan Perjovschi, Ishmael Randall Weeks, Reynold Reynolds and Santiago Sierra.
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 Turner/A&R Press. Introduction by Patricia Espinosa, Sergio Vela, María Teresa Franco, Aimée Servitje, Viviana Kuri. Text by José Luis Barrios, Manuel DeLanda, Barbara London, Príamo Lozada, Cuauhtémoc Medina, Victor Stoichitas, Bárbara Perea.
This first major monograph on the electronic artist Rafael Lozano-Hemmer was produced on the occasion of the 2007 Venice Biennale, where Lozano-Hemmer presented six interactive installations--becoming the first artist to officially represent Mexico at the Biennale. Born in Mexico City in 1967, Lozano-Hemmer studied Physical Chemistry at Concordia University in Montreal, and now uses his background in the sciences to create the large-scale, public-space installations for which he is known. Working with the concept of "relational architecture," Lozano-Hemmer's installations employ everything from robotics to sensors to cell phones and video projections to create social situations that alter the ways people relate to urban space. Describing his piece, "Subtitled Public" in an interview in this very nicely designed book, Lozano-Hemmer says, "I look for the 'special defects' that allow me to activate the imperfections, the disruptions; 'to disrupt' seems to be the most precise term for describing what I want to do."
Published by Turner/A&R Press/Coleccion Jumex. Text by Dawn Ades, Cuauhtémoc Medina, Eduardo Abaroa. Contribution by David Batchelor
The English-born artist Melanie Smith has been involved in the Mexican art scene since the late 1980s, and Spiral City & Other Vicarious Pleasures is her first significant monograph--published in conjunction with the artist's 2006 retrospective exhibition at Mexico City's University Museum of Sciences and Arts, commonly known as MUCA. This volume also serves as an introduction to the various media that Smith has been exploring since her arrival in Mexico two decades ago. It includes video, photography, installation and painting. Spiral City is a supersaturated project that provides the reader with visual and written information without ever falling into the predictable patterns of a traditional retrospective catalogue. With texts by Dawn Ades, Cuauhtémoc Medina and Eduardo Abaroa, and a written conversation between David Batchelor and the artist.
Art and Writings by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne
Published by Bard College. Edited by Rhea Anastas, Michael Brenson. Foreword by Tom Eccles. Text by Adrian Piper, Kara Walker, Daniela Rossell, Mona Hatoum, Cady Noland, Jenny Holzer, Monika Sprüth, Rhea Anastas, Michael Brenson, Norton Batkin, Johanna Burton, Aruna D'Souza, Pamela Franks, Janet Kraynak, David Levi Strauss, Cuauhtémoc Medina, Ann Reynolds, Hamza Walker.
This radical new study aims to change the way that some of the most influential artists of the past 40 years are seen--all of them women. Emphasizing questions of autonomy, critical intelligence and artistic intention, Witness to Her Art presents works by Adrian Piper, Mona Hatoum, Cady Noland, Jenny Holzer, Kara Walker, Daniela Rossell and Eau de Cologne, a magazine published by gallerist Monika Sprüth. The artworks are accompanied by original writings by the artists, contemporaneous criticism and newly commissioned essays by Pamela Franks, Aruna D'Souza, Johanna Burton, David Levi Strauss, Hamza Walker and Cuauhtémoc Medina. The ambitious works presented and interpreted herein invite us to consider the impact of the feminist revolution across generations while rendering obsolete any stigma associated with shows or catalogues limited to women artists. Taking its lead from Conceptualism, feminism, and from its included artists, Witness to Her Art reaches for art history's capacity as a medium of world-making.
PUBLISHER Bard College
BOOK FORMAT Paperback, 8 x 10 in. / 336 pgs / 240 color / 76 bw.
PUBLISHING STATUS Pub Date 3/1/2007 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2007 p. 67
PRODUCT DETAILS ISBN 9781931493550TRADE List Price: $40.00 CDN $50.00
Published by Turner/UNAM. Edited by Olivier Debroise. Text by Olivier Debroise, Cuauhtémoc Medina, Alvaro Vazquez Mantecón.
This survey of artistic experimentation in late twentieth-century Mexico assesses fields as diverse as painting, photography, poster design, installation, performance, experimental theater, Super-8 film, video, music, poetry and popular culture. It also attempts--in what may be an experimental work itself--to recreate ephemeral works, insofar as possible, with the support of the artists. The three tumultuous decades between 1968 and 1997 saw the end of the PRI (Institutional Revolutionary Party) in a violent final phase that began with the 1968 Tlatelolco massacre--which brutally crushed the student movement of 1968--and ended with the crises that followed the 1994 Zapatista uprising in Chiapas. The Age of Discrepancies is the first visual history to cover this exceptional period, and to propose a genealogy for the work that emerged from it, which is increasingly valued worldwide.
Published by Turner/UNAM/Conaculta. Edited by Virginia Ruano. Text by Ilda Rodriguez Prampolini, Fransisco Reyes Palma, Cuauhtémoc Medina, Rita Eder, José Barrios, Renato Gonzales Mello.
Alongside colleagues like Francisco Toledo and Cecilia Vicuña, Mexican artist Marta Palau has broken ground in late-twentieth and early-twenty-first century multicultural work. This overview of her oeuvre from 1960 to the present tracks everything from textiles to installations, and analyzes her investigations of hot-button social, political, racial and cultural issues including women's bodies and migration. The book is an art object in itself, showcasing Palau's experimental and innovative techniques, materials and methodologies, all deployed in relation to their historical context. Palau studied painting and sculpture in Mexico City, printmaking in San Diego and fabric in Barcelona, Spain; beyond Mexico, she has shown her work in California, Atlanta, Washington, D.C. and at the Havana Biennial.
Published by Turner/Ramis Barquet. Edited by Virginia Ruano. Introduction by Orlando Hernandez. Text by kevin Power. Contribution by Cuauhtémoc Medina.
This is the first monograph of the renowned Cuban artist Josª Bedia, whose art is as fresh as wet graffiti and as ancient as cave paintings. The Cuban-born artist resolves the distance of millennia in spare line drawings rooted at once in an appreciation for comic art and an abiding belief in the shared characteristics of indigenous faiths. A priest of Palo Monte, a rural religion closely tied to nature, Bedia has studied with Lakota Indians, the Yoruba of West Africa, and adherents of the pan-Caribbean Santer'a religion. From a personal cosmography born of his immersion in diverse cultures, Bedia's drawings are populated by godlike animistic figures with extenuated limbs that reach out over great distances, perhaps alluding to the artist's desire to bring diverse cultures into synchronic unison. Sentences written in elegant script often suggest didactic messages, as in one circular canvas in which a rabbit-eared figure growing from a mountain holds in its fist a wide-winged bird straining to reach the horizon. No puedo retenerte ms is the inscribed legend--I can no longer hold you. It is a sentiment familiar to anyone who has tried in vain to restrain something that must be freed--a child, a lover, a secret--or conversely felt trapped by loving constraints. Though accessible on the surface, Bedia's art inevitably withholds layers that remain ambiguous. Why are such intimate sentiments set against astrological renderings of the night sky? Why are offerings left at certain drawings and installations? Even for the uninitiated, Bedia is a great teacher, using his tremendous graphic skill to engage viewers in a personal spiritual voyage.
Published by Turner. Edited by Cuauhtémoc Medina. Essays by Lynne Cooke, Susan Buck-Morss, Gustavo Buntinx, Lucy Lippard, Gerardo Mosquera and Corinne Diserens.
As essayist Cuauhtémoc Medina puts it, “A desperate situation requires an absurd solution.” On April 11, 2002, 500 volunteers (mostly students from the University of Lima) were supplied with shovels and asked to form a single line at the foot of a giant sand dune in Ventanilla, an area outside of Lima. This human comb moved the 1600-foot-long sand dune about four inches from its original position. When Faith Can Move Mountains attempts to translate social tensions into narratives that in turn intervene in the imaginary landscape of a place. Instead of following the classic model of an artist or exhibition catalogue, this book focuses on the conjunction between the social and historical conditions that the work appropriated, and the metaphoric analysis that the intervention put in motion. Through images (such as photos of the event and drawings for the project) and text (including letters and documents of the intervention) this publication, reminiscent of a science book, narrates the facts and concepts of the work.
Published by Turner/Ministero de Asuntos Exteriores. Essays by Rosa Martinez and Cuauhtèmoc Medina. Introduction by Ana Palacio.
The interior of the Spanish Pavilion at the 50th Venice Biennale, held this past summer, was accessible only to the Spanish public, and then only upon presentation of an official national identification card. Persons lacking this national status were refused entry. No audience witnessed the performance held in the space on May 1st, in which an old woman wearing a black hood was paid to sit silently still on a stool for an hour. In this manner, Santiago Sierra, the artist chosen to represent Spain, did as he often does in his work: he used live human beings, both witting and unwitting, to highlight the problematic nature of our global capitalist economy. In this volume we find documentation and texts on this and other works made over the past decade, including such performances as “Line of 30 cm Tattooed on a Remunerated Person” (Mexico City, 1998), “8 People Paid to Remain Inside Cardboard Boxes” (Guatemala City, 1999) and “3 People Paid to Lay Still Inside 3 Boxes During a Party” (Havana, 2000).
Published by Turner. Essays by Cuauhtémoc Medina, Olivier Debroise, Rosina Cazali, Viviana Kuri Haddad, Patricia Sloane, Gustavo Buntinx and Natalia Majluf.
Mexican artist Luciano Matus here reveals his most ambitious project yet, realized through interventions in historical buildings and public spaces in Antigua, Guatemala; Cartagena de Indias, Colombia; Lima and Cusco, Peru; and in the Jesuit missions of Paraguay. Critics and curators from the works' host countries offer insightful commentary.
Published by Carnegie Museum Of Art. Essays by Gary Garrels, Laura Hoptman, Midori Matsui, Cuauhtémoc Medina, Francesco Bonami, Elizabeth Smith, Jean-Pierre Mercier, Branka Stipancic, and Elizabeth Thomas. Foreword by Richard Armstrong.
When Andrew Carnegie founded the Carnegie Museum of Art, his goal was to introduce the people of Pittsburgh to paintings by modern American and European artists. His vision for developing the collection program centered on purchases from an annual exhibition of modern art, now known as the Carnegie International. First held in 1896, the exhibition is the longest running survey of recent art in North America. What was modern then is contemporary in 2004, and the 54th Carnegie International promises to fulfill the exhibition's long-standing tradition of assembling the best contemporary art from around the world . A large-format, fully illustrated exhibition catalogue accompanies this tightly conceived exhibition of interrelated projects grouped around three small monographic exhibitions. These three exhibitions present the work of artists whose lengthy and influential oeuvres serve as touchstones for the larger exhibition. Catalogue entries prepared by a variety of writers with curatorial or critical expertise document the work of 40 artists from all over the world. The artists range in age from 28 to 80 and work in diverse media, including painting, sculpture, installation, performance, film, video, animation, and ceramics. (Artists will be announced in June 2004.) Each artist will be presented through a short essay accompanied by a three-page spread of color images, as well as comprehensive biographical and bibliographic information. The catalogue features an introduction by Laura Hoptman, curator, and expanded essays on three artists will punctuate the book.
PUBLISHER Carnegie Museum Of Art
BOOK FORMAT Clothbound, 9 x 12 in. / 252 pgs / 135 color / 40 duotone.
PUBLISHING STATUS Pub Date 11/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9780880390446TRADE List Price: $45.00 CDN $55.00
Published by Turner. Edited by Yoshua Okon. Essays by Carlo McCormick, Cuauhtémoc Medina, and Eduardo Abaroa, and Guillermo Fandanelli. Introduction by Miguel Calderòn.
Throughout eight years of existence, La Panadería served Mexico City as a vibrant non-profit space for exhibitions, residencies, and cultural events involving local and international artists. This retrospective catalogue exists as a collective testimony on the artistic productions and exhibitions that resulted from the space, which was founded in 1994 in a former bakery by local artists Yoshua Okon and Miguel Calderón. La Panadería emphasized, by way of its inherent nature, the integration of eclectic marginal practices. Young artists were invited to exhibit video, photography, installation and performance-based works, but the space was also characterized by parties and concerts, reflecting a lifestyle and a social dynamic that opposed a rigid set of paradigms which dictated how art should be. La Panadería: 1994-2002 is a visual and theoretical digest representative of the national and international art scene, presenting a selection of 60 exhibitions by foreign and Mexican contemporary artists via photographic documentation, a brief descriptive text, and ephemera such as invitations. Six critical texts consider the relevance of the space, while anecdotes from artists and the visiting public pay testimony to it. Dozens of artists are represented here, including Carlos Amorales, Chris Johanson, Emily Jacir, Francis Alÿs, Gelatin, Kirsten Stoltmann, Las ultrasónicas, Luis Felipe Ortega, Miguel Calderón, Minerva Cuevas, Semefo, Shepard Fairey and Uri Tzaig. The book is accompanied by a CD with music by Silverio.
Published by Turner. Artwork by Gunther Gerzso. Contributions by Diana Dupont. Text by Eduardo De La Vega, Luis Martin Lozano, Cuauhtemoc Medina.
The man Octavio Paz called a “glacial spark” was a painter for whom intuition always had the last word. But Gunther Gerzso's work has in recent years lacked the in-depth attention it deserves, a situation meant to be righted by Risking the Abstract. Originally conceived in collaboration with the artist, and finished with the help of his widow and sons, this volume and exhibition provide a better understanding of the artist's essential role in shaping an alternative approach to Modernism in Mexico, one that bears an important relationship to Abstract Expressionism in the United States and art informel in Europe.
An Exhibition About the Exchange Rates of Bodies and Values
Published by P.S.1 Contemporary Art Center. Edited by Klaus Biesenbach, Alanna Heiss, Anthony Huberman. Contributions by Pedro Reyes, Jonathan Hernndez. Text by Patricia Martin, Guillermo Santamarina, Cuauhtemoc Medina, Gabriel Kuri, Glenn Lowry.
Living in a cramped space where Beverly Hills and Calcutta meet every day, the artists gathered here explore the tension between wealth and poverty, among progress, stagnation, and improvisation, and between the violence and civility that animates the vibrant center that is Mexico City. Compounding the complexity of urban living, high rates of kidnapping, murder and pollution become a daily threat. For the rich, the body becomes an object to be cared for, protected, even exchanged for ransom, while, for an underclass of day laborers, homeless people, and prostitutes, survival depends on participation in physically exploitative situations that place an exact commercial value on the body. Alluding to recent art historical movements such as body art, process art, and arte povera, these artists use everyday objects and situations to form a complex dialogue about Mexico City and its relationship with the first world, focusing on the influence of the global economy on aesthetic values and daily life. Daniela Rossell's series of photographs, Ricas y Famosas, captures the endangered species of the rich and famous in their ornate and overprotective environments, and Francis Als documents people pushing and pulling their wares to and from the marketplace, leveraging their body weight against the commercial value they are physically dragging along.
The rise of globalism has created tremendous challenges to old economic, political and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey and the United States.
Published by ArtPace, A Foundation for Contemporary Art, San Antonio. Edited by Cuauhtemoc Medina, Okwui Enwezor, David Frankel. Contributions by Teresita Fernndez, Bill Arning, Judith Russi Kirshner. Text by Frances Colpitt, Lisa Corrin, Laura Cottingham, Shaila Dewan, Eleanor Heartney, Linda Pace, Jan Jarboe Russell, Lynne Cooke, Chrissie Iles, Kathryn Kanjo.
Since its founding seven years ago by Pace Foods heiress Linda Pace, ArtPace has become one of the premiere foundations for contemporary art. An artist residency program based in San Antonio, Texas, ArtPace's goal is to give artists time and space in which to imagine new ways to work. Each year, nine artists (three from Texas, three from other areas of the United States and three from abroad) are invited to the foundation to create new work. Selected by guest curators the likes of Robert Storr and Okwui Enwezor, the list of artists who have undertaken residencies at ArtPace is impressive, prescient and diverse, including Felix Gonzalez-Torres, Annette Messager, Tracey Moffatt, Xu Bing, Nancy Rubins, Cornelia Parker, Inigo Manglano-Ovalle, Glenn Ligon, Kendell Geers, Carolee Schneemann, Mona Hatoum, Isaac Julien, Arturo Herrera, and Christian Jankowski. Dreaming Red includes illustrations of all the works created at ArtPace since its inception, an essay by art historian Eleanor Heartney, short essays on selected artists by the guest curators, including Cuauhtémoc Medina, Lynne Cooke, Chrissie Iles and Judith Russi Kirshner, and a lengthy essay on the personal history of the foundation and its founder.
PUBLISHER ArtPace, A Foundation for Contemporary Art, San Antonio
BOOK FORMAT Clothbound, 7.75 x 9.5 in. / 320 pgs / 250 color.
PUBLISHING STATUS Pub Date 3/2/2003 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2003
PRODUCT DETAILS ISBN 9781888302004TRADE List Price: $29.98 CDN $35.00
Published by Artimo. Edited by Gils Stork. Essays by Cuauhtemoc Medina, Phillippe Vergne and Rein Wolfs.
Carlos Amorales is a Mexican artist whose work in the media of photographs, videos, installations, and performance draws on the theatrical world of professional wrestling in Mexico, where the fighters assume fictional characters and are popular heroes. Amorales takes part in this world by creating his own alter ego: a wrestler that fights under the name Amorales and wears a mask designed by the artist. The result is a fascinating, multi-layered game of changing identities, and a constant shifting of reality and fiction.
BOOK FORMAT Paperback, 8.5 x 11.5 in. / 256 pgs / 120 color / 30 bw.
PUBLISHING STATUS Pub Date 8/2/2001 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2001
PRODUCT DETAILS ISBN 9789075380231TRADE List Price: $25.00 CDN $30.00