Bøger udgivet af Turner, Madrid and Mexico

A close look at the past 20 years of a Mexican city's vibrant art sceneThis volume accompanies an exhibition at the Oklahoma Contemporary Arts Center highlighting the Mexican city of Guadalajara as an important hub for contemporary art production. Featured artists include: Claudia Cisneros, Hiram Constantino, Jose Dávila, Larissa Garza and many more.

Eschewing a strictly taxonomical approach, the book approaches the topic of the Bonsai more poetically, reflecting on the age in which they were designed and planted.

Catalog of an exhibition held at the MACBA, Museu d'Art Contemporani de Barcelona, Spain, Feb. 18-June 24, 2014.

A comprehensive view of the enduring iconography created by the famed Mexican cinematographerThe films of Gabriel Figueroa (1907-1997) constitute an essential node in the network of exchanges and appropriations that formed Mexico's cultural identity in the early and middle decades of the twentieth century. Featuring color images and stills, Under the Mexican Sky provides a comprehensive view of the enduring Mexican iconography that Figueroa crafted throughout his career as a cinematographer, working on more than 200 films and collaborating with some of the world's leading directors of the time, such as John Ford, John Houston, Emilio Fernández and Luis Buñuel. Figueroa trained as a painter and photographer before transitioning into the world of film in 1932, and these early studies influenced Figueroa's distinctive and vivid approach to cinematic composition. Drawing from a diverse array of influences--Renaissance perspective, German Expressionist cinema, Goya's prints and the landscapes of José María Velasco--Figueroa forged a lasting image of Mexico's history, landscape and people.

Proposing new perspectives on artistic production in Mexico between 1952 and 1967, Defying Stability looks at the diversity of the country's postwar visual arts against the backdrop of its broader social and economic shifts. This period saw the formation of new educational institutions, the emergence of alternative cultural spaces and a cross-pollination with European, North American and Latin American avant-gardes. Among the artists represented here are Feliciano Béjar, Ursula Bernath, Luis Buñuel, Lilia Carrillo, José Luis Cuevas, Felipe Ehrenberg, Manuel Felguérez, Rubén Gámez, Gunther Gerzso, Alberto Gironella, Mathias Goeritz, Juan José Gurrola, Juan Guzmán, Kati Horna, Alexandro Jodorowsky, Fernando Luna, Bordes Mangel, Diego Matthai, Rodrigo Moya, Juan O'Gorman, Wolfgang Paalen, Lorraine Pinto, Fernando García Ponce, Armando Salas Portugal, Vicente Rojo and Eduardo Terrazas.

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.

Through photographs and population data, this publication provides an anthropological view of the Mayan habitants of the Campeche region in southeastern Mexico. It includes essays on the social organization of the communities, and their linguistic diversity.

Proyedo Líquido: Fear addresses the theme of everyday fear and terror in Mexico today, looking at works by a huge range of artists, including Galia Eibenschutz, Julián Herbert, Maricela Guerrero, Meiro Kaizumi, Kenneth Anger and others.

In Fukushima, Winter Flowers, Spanish artist José María Sicilia (born 1954) addresses the 2011 tsunami in Japan. The artist converts different sounds and images of the tsunami, like birdsong and recordings of warning messages, into two- and three-dimensional paintings.

Contemporary Languages from Centro América offers a detailed cartography of the famously vibrant contemporary art scene in Central America, reproducing artworks by known and unknown artists alongside interviews. This richly illustrated volume focuses particularly on Costa Rica, Nicaragua, Guatemala and El Salvador.

The profile of Latin American abstract art in North America and Europe has dramatically increased over the past decade or so, thanks in large part to the activities of the Patricia Phelps de Cisneros Collection. However, this is the first publication to specifically address the Concrete and Neoconcrete movements, spanning the 1930s through to the 1970s, and focusing on centers of activity throughout Latin America, in cities such as Montevideo, Buenos Aires, São Paulo, Rio de Janeiro and Caracas. In these decades, artists such as Lygia Clark, Hélio Oiticica, Lygia Pape, Jesús Soto, Carlos Cruz-Diez, Judith Lauand, Geraldo de Barros, Hermelindo Fiaminghi, Luiz Sacilotto, Willys de Castro and Ferreira Gullar infused European Concrete art with fresh energy and warmth, extending it into the realms of performance and interactive sculpture (as seen in the works of Clark, Pape and Oiticica). The book organizes this rich range of work into five thematic sections: "Geometry," "Illusion," "Dialogue," "Vibration" and "Universalism." Accompanying an exhibition at the Reina Sofía, Concrete Invention also includes texts by several of the artists; an essay by sound artist and scholar Steve Roden; a questionnaire on the legacy of these movements answered by Luis Camnitzer, Jesús Carillo, Sofia Hernández Chong Cuy and Ana Longoni; and a series of geometric-abstract gatefolds designed for the catalogue by José León Cerrillo.

Ranked as one of the world's most important ecosystems, the Campeche rainforest covers more than seven million acres of southeast Mexico and Belize, and contains more than 2,000 plants species and 350 species of bird. This volume documents the region in 100 color photographs, scientific tables, maps and contextualizing essays.

Transcommunality celebrates Mexican artist Laura Anderson Barbata's work with The Brooklyn Jumbies for whom she creates costumes and wearable sculptures.

British-born, Mexico City-based artist Melanie Smith (born 1965) created three audiovisual works for the Mexican Pavilion at the 54th Venice Biennale, each documented in this volume: "Aztec Stadium" (which takes place in Mexico's largest stadium), "Xilitla" (on Edward James' Surrealist palace) and "Package" (in which a large, red packet bursts into various public spaces).

"La Biennale di Venezia. 55. esposizione internazionale d'arte. Partecipazioni nazionali."

Since the 1990s, "banquete_" (a multidisciplinary collaboration between artists, scientists and other thinkers, named for the Spanish word for feast, banquet) has aimed to explore the convergences among biological, social, technological and cultural thought, giving rise to collaborative research, production and dissemination--including over 30 digital art projects, all surveyed here.

In his works, the American artist Josiah McElheny questions the legacy of modernity from the standpoint of his practice as a master of glass, starting from the confluence of design, science and art. McElheny studied art at the Rhode Island School of Design, and increased his knowledge of traditional glass manufacturing techniques by studying with such masters as Ronald Wilkin. This book presents "Island Universe," an installation composed of five chromed aluminium and blown glass sculptures. The structures form spheres that depict the grouping of galaxies in the universe and lights symbolizing quasars (the most brilliant objects known to man). The starting point of this work are the chandeliers inside the New York Metropolitan Opera House, designed by Lobmeyr in 1965, the same year in which the first data in support of the Big Bang theory were made public. The work functions as a model of that theory of the origin of the universe.

Text by Barry Schwabsky, Christian Viveros-Faune.

Texts by Barry Schwabsky, Kevin Power, Omar Pascual.

Texts by Valery Katsuba, Yulia Yakovleva.

"Namban" is one of the first known Eastern terms for Westernization, and it describes a century of Japanese trade with Europe in the 1500s and 1600s, trade that influenced Japanese society and art a great deal until the nation, in response, sealed its borders. Japanese art showing Namban influence is well known; here the antiquarian and historian Rodrigo Rivero Lake uses the term to identify Japanese influence in not just Western art of the same era, but New World, Mexican art. Lake sketches the shared history of Asia and Viceregal Mexico (then a European colony), which face one another across the Pacific. He follows the travels of the Galesns of Manila and Nao of China from Asia to Acapulco, and the Japanese schools of painting and artistic techniques introduced in the process. Every story takes readers deeper into the complex genealogies of Mexican Namban, to its roots, and eventually to evaluations of its technical, stylistic and iconographic characteristics. The Namban art of Mexico, while culturally revealing and relevant, is rare, and has long been little known: Rodrigo Rivero Lake shares his comprehensive expertise with generosity and style.

Tijuana: so close and so far out. Named for a well-known record by the musical group Nortec, whose members are important promoters of the cultural and artistic movement in Tijuana, this exhibition catalogue covers the cutting-edge art scene surrounding the city. According to curators Príamo Lozada and Taiyana Pimentel, the show, at Madrid's ARCO 05, focused more on a "specific generational moment and space rather than a definitive interpretation of the region's cultural production." Lozada and Pimentel explored the interaction between Tijuana and its neighboring cities, San Diego, Los Angeles and San Francisco, as well as the mutual influence among the disciplines, in particular between music and visual arts. For instance, San Diego's Hans Fjellestad's digital film Frontier Life traces the history of the border, and the Radio Global collective shows logos from the four Tijuana-based graphic designers who started the area's first Internet radio station.

Mexican artist Luciano Matus here reveals his most ambitious project, realized through interventions in historic buildings and public spaces in Antigua, Guatemala; Cartagena de Indias, Colombia; Lima and Cusco, Peru; and the Jesuit missions of Paraguay.

One of Mexico's leading contemporary artists, Lourdes Grobet is a photographer who, for the past 20 years, has set her camera lens to look at Mexican popular culture, from female wrestling to northern emigration, from neo-Mayan architecture to Cuban immigration. Beyond photography, she has also tackled architecture, installation art and graphic design, collaborating with numerous institutions in Mexico and abroad to realize her projects. Throughout her long career, she has sometimes been associated with the Fluxus movement, and has had a great influence on the younger generations of Mexican artists, including Gabriel Orozco and Ruben Ortiz. Some of the institutions with which she has worked include the Museo de Arte Moderno of Mexico City, Museo Carrillo Gil, Museo Nacional de Arte, Museo de Bellas Artes, Museo Esteudio Diego Rivera, Fondo de Cultura Economica editorial, and Secretaria de Educacion Publica, among others. Grobet's work has been exhibited both individually and in group shows in the United States, England, France, Holland, Sweden, Venezuela, Brazil and Mexico.