Archives 3: Mariana Castillo Deball [F]


Semester 2 et 4
Dates

du 16 au 19 mars 2010

workshop de quatre jours

ECTS 3
Kunsthochschule
Universität / Haute Ecole
HEAD Genève - WORK.MASTER
Website head.hesge.ch
Teacher Mariana Castillo Deball
Contact email
for student applications
josiane.louet@hesge.ch
Content description

Projet workshop : I think I would like to base it on narrative and patterns.
A parallel study on literary narrative structures, and the way visual and geometric patters develop.
I have been researching a lot on it lately and it has many examples and nice exercises that can be done, from arabic patterns and music, to the way indigenous people in the amazonas use drawings, body paint, basket knitting, oral culture and music as all coming from the same pattern.
In mexico there are also several examples related to textiles, music and oral culture.
Claude Levi-Strauss wrote about it, Jung, etc.
It is an approach that faces communication and language without a written format.

 

Mariana Castillo Deball :
Mariana Castillo Deball, née en 1975 à Mexico, vit et travaille à Berlin et Amsterdam. Après des études d’arts visuels à l’Université nationale autonome de Mexico et de philosophie à l’Université Ibéro-américaine de la même ville, elle a participé au programme postgrade du Jan Van Eyck Institute à Maastricht et obtenu en 2004 le Prix de Rome des Pays-Bas. Etudiant des bibliothèques, des musées et des archives, elle y collecte et sélectionne des informations concernant leur classification symbolique du monde et réalise à partir d’elles des installations, des objets, des photographies, des films et des enregistrements sonores, sur la base d’une fiction narrative. Elle a exposé entre autres au Stedelijk Museum et à De Appel, Amsterdam; à la Cisneros Fontanals Art Foundation, Miami; au Museo de Arte Carrillo Gil, Mexico; à la GB Agency, Paris; et à la galerie Barbara Wien, Berlin. Elle a notamment publié Interlude: The Reader’s  Traces (Maastricht et Francfort 2005), Estas ruinas que ves (Mexico 2006), A for Alibi (Berlin 2007) et How William Blake Saved Documenta (A Prior Magazine 2007).
« During the last few years, my mode of work has been based on a kaleidoscopic approach towards language: different disciplines and ways to describe the world can clash and thereby generate a polyphonic voice. Putting an accent on the exchange process rather than on what is being exchanged, my work takes a journey through archaeology, science, literature, and technology to observe that the principle of reciprocity is never equal, that every exchange implies a transformation of all the parties involved. As an artist, I can play this intermediate game between science, storytelling, fiction and the visual arts. In each project, multiples and diverse objects work as performative devices. The emphasis is put on the way they are used or distributed within certain contexts, and how they might generate a territory. I am very interested in the notion of potlatch. The dictionary defines it as to consume, but the context the word calls up is not that of commerce but of "consumption by fire": there is a gift of the gods that has to be returned until there is nothing else to give. It is a dance of throwing away property, a form of communication between people who hold nothing back – an economy of emotion and play. »

Remarks

organisé dans le cadre du lab.zone Archives, Workmaster:

Christophe Kihm, Serge Margel, Claire de Ribaupierre, Marie Sacconi