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On the occasion of the exhibition Cecilia Vicuña: Dreaming Water, Malba publishes in collaboration with the National Museum of Fine Arts in Santiago de Chile and the Pinacoteca de São Paulo the most comprehensive monographic book dedicated to Cecilia Vicuña's work to date. It features a main text by curator and editor Miguel A. López in epistolary format a letter addressed to the artist as well as new essays by Elizabeth A. Povinelli, Catherine de Zegher, and José de Nordenflycht. It includes two texts by Vicuña on her drawings from the Palabrarmas project and the activism of the group Artists for Democracy, as well as a conversation between Vicuña, Marisol de la Cadena, and Camila Marambio.

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Ant Lea ventures out of the anthill for the first time with a group of companions in search of food, but what should have been a simple, routine mission turns into an odyssey.They are taken by surprise by an army of enemy ants, and in the chaos of battle, Lea gets lost in an unknown place. Alone and disoriented, she doesn't know how to return to the anthill. She finds herself wandering in a strange world that she must learn to inhabit and understand. It's time for Lea to grow up as an ant.

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The catalog “Julio Galán: A rabbit split in half ” is edited by the Tamayo Museum and published by Editorial RM. It not only documents the homonymous exhibition presented at the Museo Tamayo in Mexico City, curated by Magalí Arriola, but also offers a new perspective on the artistic endeavors of Julio Galán (Múzquiz, 1959 - Monterrey, 2006). As there has been no comprehensive publication of Galán’s work in the past fifteen years, the outcome of this project is a book that re-contextualizes his paintings from a contemporary perspective.“Julio Galan: A Rabbit Split in Half ” will include the first biographical essay on Galán ever published, authored by Teresa Eckman, PhD; a curatorial essay by Magali Arriola, curator of the show and director of Museo Tamayo; and a glossary on Galan’s iconography penned by Mexican writer Pablo Soler Frost, compiling some of his most outstanding works, archive images, author photographs and contemporary photographs from the exhibition at the Tamayo Museum (2022).

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This much-anticipated publication will have an introductory text by well-known writer Masayo Nonaka, curator of the exhibition "Women Surrealists in Mexico" and author of numerous books on Mexican surrealism. Masayo's text will offer a unique insight into the life and work of Remedios Varo. Richly illustrated, the volume will present the painter's most important works. Through the forthcoming exhibition "In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States," to be held at the Los Angeles County Museum of Art (LACMA) in 2012 and then at a venue in Canada, Remedios Varo's work will also gain exposure to a wider audience.

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An artistic and critical inquiry into a slew of 10-year-old unsolved murders in the Peruvian Amazon. In 2011, 14 indigenous Shawi healers were brutally murdered in the Peruvian Amazon, in a region called Balsapuerto. This publication is an investigation into these murders, featuring images by British documentary photographer Christo Geoghegan (born 1988) alongside original artwork, interviews, police records and other archival materials. SELLING POINTS: . A fascinating account of the brutal murders of Shawi healers in the Peruvian Amazon and the theories behind them. . Also offering an insight into the role of the “curandero” (healer) in remote communities. . The design of the book is highly original with an opening on both sides. 191 images

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Picasso and Miró revolutionized modern art in the early 20th century. Although trained in Barcelona, it was in Paris where both were consecrated as artists. Having said that, their painting and art have their roots in two unique places in southern Catalonia: Horta de Sant Joan and Mont-Roig del Camp. French photographer Jean Marie Del Moral, son of Spanish exiles during the Civil War, has never ceased to be fascinated by the work and figures of Picasso and Miró. A connoisseur of the places where both geniuses were inspired and worked, he affirms that in Horta and Mont-Roig, Picasso and Miró found nature and popular culture in its primitive state. Del Moral believes that both artists, although they painted differently, shared the same ideas about creation, art, life and nature. Hence, he believes that the roots of their art are alike and that the similarities between the Horta and Mont-Roig landscapes are very revealing. Through his lyrical and intimate photography, Del Moral creates an imaginary dialogue between the landscapes and places that inspired Picasso and Miró. He has a perceptive and poetic gaze, heir to that of the great masters of Catalan photography such as Joaquim Gomis and Francesc Català Roca and reminding us also of Paul Strand or Edward Weston images. Jean Marie Del Moral discovers a new Picasso and a new Miró, still original and unique but close in essence.

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Major Arcana borrows elements from a number of esoteric traditions. A deck that brings light to Leonora Carrington's practice. Includes 22 cards and a booklet with details about the cards.

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Since the 1980s, Juan Travnik has been wandering through a ghostly Buenos Aires at dawn recording the blackness of the harsh urban and peripheral landscapes, empty of any human presence. Over the years, colour has become increasingly important. The moribund shades of his chromatic repertoire transmit his despondency in the face of the crisis that Argentina is currently going through. Everywhere, the changes to the walls and sidewalks, the splashes and stains here and there, the rust, the cracks and holes, the accumulation of plaster all transude a sombre anguish, bathing the city in a dismal light.

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Fashion photography occupies an unknown place, although of great importance, in Antoni Miralda's career.This book allows us to understand how influential his work was at that time. After settling in Paris, the artist began to collaborate regularly with ELLE magazine between 1964 and 1971, working on contemporary seasonal collections linked to the art world.Among the many reports carried out by Miralda for ELLE magazine there is one that stands out for the notoriety of the model who stars in it, the iconic Twiggy. Most images at the time showed models in studios, while Miralda took these models out into the street, into an uncodified and unpredictable space, requiring from the photographer and the team a decision-making process that was never entirely aprioristic. Faced with the Grand Paris of Haussmann or the Paris of museums and imposing cathedrals, Miralda prefers the blind points of historicist urbanism; popular, uncliched places with a great human density. No-Flash Fashion, with its contemporary design and its references to fashion magazines and archives, presents for the first time a detailed view of the undiscovered work of one of the most versatile and iconic artists of the twentieth century.

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Unveiling Jan Hendrix's graphic journey which spans almost half a century, offering a rich tapestry of maps and coordinates. Featuring essays by esteemed colleagues such as Estrella de Diego, Patricia Sloane, Olivier Debroise, and more, ATLAS not only showcases Hendrix's art but also provides profound insights from influential voices in his career, adding depth and context to the visual narrative. Tracing Hendrix's artistic evolution and global odyssey from rebellious beginnings in Holland, encounters with influential artists in Düsseldorf, collaborations with Francisco Toledo and Gunther Gerzso in Mexico, to his worldwide artistic exploration documented in Bitácora and Script. This book is a testament to his artistic legacy. Atlas/House presents a set of maps and coordinates to explore almost half a century of Jan Hendrix's multifaceted cartography; from his early years of training at the Jan van Eyck Academie, in his native Holland, to his most recent essays on shadows, the product o

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The book features a comprehensive interview between Ramirez and Gilles A. Tiberghien., richly illustrated with numerous images. Through this dialogue, they delve further into Ramirez''s body of work, his artistic vision and creative process.Enrique Ramírez''s work blends videos, photography, soundtracks, installations, and poetic narratives. He enjoys working with stories within stories, fiction that straddles different countries and time periods, the mirages arising from the gap between dream and reality. He often uses images and sound to develop intricate plots that strike a subtle balance between poetry and politics. His imaginary world of interwoven themes is anchored by one obsessively recurring element at the root of all his meditations: the sea as a place for memory in perpetual motion. He projects narratives in which Chile's fate intersects with epic accounts of faraway travels, conquests, and shifting migration tides. His sea-inspired images tell a bewildering tale of a foreve

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The series title “i”, is the sound /ai/ which is “I” in English and “love” in Japanese. In a glimpse of these photographs you are left feeling a sense of peace and serenity, a feeling of the good fortune of living in this world. “i” is Akiko's first book with an international distribution, edited with extreme quality in a limited edition of 1000 copies. 'Every time I look at my artworks, I’m provided with new ways of seeing them. It’s as if they are a mirror allowing me to encounter myself afresh each time. I like to think this allows my work to be re-born again and again whenever my photographs are experienced.With my work, I am happy when I feel there is nothing, but at the same time everything.' Akiko Kimura

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Could it be that our world is just a construction – a manufactured illusion? A few years ago, this existential discussion was limited to the academic world and science fiction. But things are changing. Bank of America recently issued a report to all of their customers in which they stated that the probability that we live in an artificial reality is between 20% and 50%.Tesla and founder, Elon Musk,believes that the chance that we do not live in a computer simulation is one in a billion. The Merge visually explores the question: Is it possible that our physical reality does not exist as we believe it to, but instead life is a computer simulation?

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The Laboratorio de Teatro Campesino e Indígena: A Half Century of History is a book that maps the trajectory and experiences of a communitarian, mass, indigenous and rural theatre, and a posthumous homage to its founder, María Alicia Martínez Medrano. In accordance to its beginnings and objectives, the LTCI has offered to many marginalized communities, the instruments to develop, value and enjoy their own artistic language, traditions, theatricality and the integration of their rituals into this language with a profound sense of dignity. Photographer and artist Lourdes Grobet, has followed with her camera the steps of the LTCI for over 30 years. Her images, are the visual axis of the book. Luz Emilia Aguilar Zínser, is a theatre critic and researcher. She has made an extensive documental and field research on the LTCI, their experiences, achievements and difficulties. Rodolfo Stavenhagen’s text enriches and provides to the book’s proposal. Delia Rendón, who is currently responsible for the LTCI, writes about the upcoming projects:“It continues to bring light to the indigenous and rural theatre, a flame.”

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Witness Blanchard's artistic evolution from her early Cubist works to her later emotionally charged paintings, characterized by bold colors. The catalog offers a chronological journey through the different stages in the artistic life of the Spanish painter María Blanchard (Santander, 1881-1932). Its aim is to highlight the symbolic richness and innovative character inherent in her work during her short artistic career. A substantial body of her work was not adequately appreciated in the cultural context of that time, which believed in the artistic inferiority of women. Committed to her unique way of living and creating until the end, she transcended the boundaries of gender stereotypes. The vast repertoire of work she left behind, including maternity scenes, domestic scenes, children, and workers, reflects a heartfelt female concern for the vulnerability of the human condition and the evocative power of emotions. These aspects are reinforced by a meticulous technical mastery and a keen

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In 1624, Giovanni Battista Braccelli an artist from Florence, Italy created a series of imaginary characters composed of elements like clouds, diamond shaped tiles, chains and kitchen equipment. He gave these the title “Bizzarie”. Thanks to Covid and the lockdown, Alejandro Magallanes decided to compensate for the lack of social contact by creating fantastical people himself too. What was once called “Bizzarie” now becomes a search for human contact. An artist seldom knows how the public is going to react to his work. Magallanes gave poet Tedi López Mills space for creation, whereby she gave each of the characters personal attention and wrote her texts on the same page.

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Cristina de Middel has been travelling for years with migrants on the train they call the beast, interviewing sicarios (hired killers), talking for hours with coyotes (clandestine smugglers) and police officers. By combining her own photographs with objects found in the desert and archive footage, she creates a multi-layered narrative. The starting point is Tapachula, the Southern border of Mexico with Guatemala, and the journey ends in Felicity, a small town in California that is the officially Center of the World.This epic journey is punctuated by the accounts of three migrants recounting their terrible journey and commentary by the artist. An afterword by Mexican journalist, Pedro Anza, illuminates the issues at stake and the human consequences of the United States' obsession with closing its borders.

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With José Esparza Chong Cuy as curator, readers are taken on a guided journey through the artist''s work, focusing on two concepts that function as metaphors throughout the journey: Cultivation and harvesting and industrialization processes. Reflexively, Ortega contrasts these concepts to tell an alternative story of the Mayan myth of creation - where corn is the origin of humanity - to reach the globalized post-industrial era and the chaos caused by longed-for progress. The concepts articulate the notions of energy, transformation, ecosystem and technology, the latter understood as a set of knowledge, instruments and technical resources that man has implemented to influence the world.

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Minerva Cueva’s aesthetic practice can be situated at the interface between political action and exercises of social self-determination. Among the central themes she has addressed through her work are the commodification of natural resources all over the world, the social causes and consequences of climate change and the neoliberal mechanisms of power that exist in both the private and public realm. Cuevas works across a variety of media, including film, performance, installations and murals, whereby the process of conducting research is a key component of her artistic method. In a clear gesture of non-compliance and resistance, she frequently appropriates the language of the establishment, such as institutional branding and commercial advertising. An associative approach to the oeuvre allows interconnections to come to the fore.

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Between 2016 and 2018 Pablo Ortiz Monasterio visited the city of Buenos Aires in Argentina three times. Observing how the “Me too” movement was gaining strength not only in the United States, but also throughout Latin America, Ortiz Monasterio witnesses the power, latent and at the same time palpable, of the women of the city. Women, he says, who step strong and portrayed in this small book of a great moment, represent the forcefulness of the affectsthat lead the feminist movements that fight and work for a fairer future.

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