Softcover
Published by Bom Dia Books.
19,5 × 27,5 cm
, 180 pages.
ISBN: 978-3-943514-35-3
Ixiptla III explores archaeological heritage and how it is expressed, is contaminated or dissolved in the present. Moosje M. Goosen tells the story of a German archaeologist and his collection of fake clay dinosaurs; Anne Huffschmid gives an overview on the history of forensic anthropology and its important role in Mexico nowadays in the study of the numerous mass graves and the case of the 43 missing students from Ayotzinapa; Pablo Katchadjian asks: what to do?; Paula López Caballero tells the story of Luz Jimenez and her role as translator, model and interpreter, to understand different notions of indigeneity; Federico Navarrete Linares begins a dialogue between Bajtin’s concept of historical cronotrope and the Mesoamerican relation to time and space; Sandra Rozental compares the different use, categorization and display of archaeological Spolia in Coatlinchan and the Ethnographic Museum in Berlin; Carlos Sandoval creates an Anti Lego miss matching pieces from his family collection of archeological fragments; Adam T. Sellen makes an anatomy of a fake; Anna M. Szaflarski draws knots with different meanings building up an impossible body; and Laura Valencia Lozada writes a letter to the families to the disappeared in Mexico as the beginning of a longer conversation.
Volume III of Ixiptla is only available in Spanish, published in the context of the exhibition Who will measure the space, who will tell me the time? Museum of Contemporary Art MACO, Oaxaca, Mexico.
Who will measure the space, who will tell me the time? It is situated on the thin line that divides our relationship with objects, with the stories we make about them. A repertoire of objects, some archaeological, other mechanical, recreational or synthetic, were selected in the present, along with Innovando la tradición and Coatlicue pottery workshop from Atzompa, Oaxaca. The selection was the foundation for imagining a series of stories, which now stand as columns in the exhibition space.
The Nahua ixiptla concept has been translated as image, delegate, substitute or representative. Ixiptla could be a statue, a vision or the victim that becomes the god for human sacrifice. The various ixiptla of the same god could occur simultaneously. Ixiptla derive from the particle xip: skin, cover, shell; is the container, the recognizable presence, the update of a force embedded in an object: a being there, removing the distinction between essence and matter, original and copy.
Volume III of Ixiptla is only available in Spanish, published in the context of the exhibition Who will measure the space, who will tell me the time? Museum of Contemporary Art MACO, Oaxaca, Mexico.
Who will measure the space, who will tell me the time? It is situated on the thin line that divides our relationship with objects, with the stories we make about them. A repertoire of objects, some archaeological, other mechanical, recreational or synthetic, were selected in the present, along with Innovando la tradición and Coatlicue pottery workshop from Atzompa, Oaxaca. The selection was the foundation for imagining a series of stories, which now stand as columns in the exhibition space.
The Nahua ixiptla concept has been translated as image, delegate, substitute or representative. Ixiptla could be a statue, a vision or the victim that becomes the god for human sacrifice. The various ixiptla of the same god could occur simultaneously. Ixiptla derive from the particle xip: skin, cover, shell; is the container, the recognizable presence, the update of a force embedded in an object: a being there, removing the distinction between essence and matter, original and copy.
