Search results for ""BOM DIA BOA TARDE BOA NOITE UG (haftungsbeschrankt)""
BOM DIA BOA TARDE BOA NOITE UG (haftungsbeschrankt) Textile
For more than a decade, works of art made from plant material have been at the center of Olaf Holzapfel's artistic practice. Since 2009, Holzapfel has been developing a group of works together with weavers from a Wichí family in Gran Chaco, Argentina. His works highlight the connection between humans as settlers and their surrounding landscape and emphasize the relationship between center and periphery, urban and rural. An example of this are the textile works and installations made from the cactus fibre Chaguar and presented in the publication Textile. These textile works were made in a collaborative process between the artist and the Wichí weavers Teresa, Mirta, Dionisia, Noelia, and Luisa Gutiérrez. In their beauty, the works combine contemporary aesthetics with the weavers' knowledge of the colors and properties of the forest. The publication contains documentational material of Holtzapfel's work, texts by Olaf Holzapfel, Andrea Elías, and Inka Gressel as well as an interview w
£28.80
BOM DIA BOA TARDE BOA NOITE UG (haftungsbeschrankt) Ixiptla Volume V Amarantus
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
£24.00