Description

The word amarantus, which gives name to this publication, comes from the Greek a??a????, and describes a flower that never wilts. This plant is still used to prepare ixiptlahuan, which are anthropomorphic and zoomorphic figures that are ritually consumed by some indigenous peoples in Mexico. The amaranth flower represents the persistence of the uncomfortable objects that Castillo Deball makes visible in her historical itineraries and approximations, and that keep speaking to us in the present. Ever since her early works, the artist has explored how chance a product of the passing of time, erosion, fragmentation, and human intervention, among other factors determines, to a large extent, the way we learn about the world and the narratives we create. This interest has led her to investigate the history of certain artifacts and their vicissitudes, reproductions, appropriations, and disappearances. Her formal strategies tend to reflect an inclination toward methodologies used by archaeo

Ixiptla Volume V Amarantus

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The word amarantus, which gives name to this publication, comes from the Greek a??a????, and describes a flower that never... Read more

    Publisher: BOM DIA BOA TARDE BOA NOITE UG (haftungsbeschrankt)
    Publication Date: 01/01/2023
    ISBN13: 9783964360465, 978-3964360465
    ISBN10: 3964360465

    Non Fiction , Art & Photography

    Description

    The word amarantus, which gives name to this publication, comes from the Greek a??a????, and describes a flower that never wilts. This plant is still used to prepare ixiptlahuan, which are anthropomorphic and zoomorphic figures that are ritually consumed by some indigenous peoples in Mexico. The amaranth flower represents the persistence of the uncomfortable objects that Castillo Deball makes visible in her historical itineraries and approximations, and that keep speaking to us in the present. Ever since her early works, the artist has explored how chance a product of the passing of time, erosion, fragmentation, and human intervention, among other factors determines, to a large extent, the way we learn about the world and the narratives we create. This interest has led her to investigate the history of certain artifacts and their vicissitudes, reproductions, appropriations, and disappearances. Her formal strategies tend to reflect an inclination toward methodologies used by archaeo

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