Terremoto 9. Dorothée Dupuis (ed). Terremoto & Motto Books.

Posted in art, distribution, magazines, Motto Books, Wholesale on July 14th, 2017
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In 1985, British movie director Terry Gilliam releases Brazil, a free adaptation of George Orwell’s novel 1984 (currently hitting again best-seller list in the USA). Borrowing its title from Ary Barroso’s song Brazil, after Gilliam allegedly heard it while scouting in a horrible small industrial town in the north of England, the movie is a fable about humanity’s alienation in contemporary bureaucratic and capitalist systems, and affirms the power of imagination, dream, and affect as potential tools of resistance and escape in a surrealistic, post-Monty Python tone.

2017: in Brazil, the repercussion of “Lava Jato Operation” now infiltrates all layers of the Brazilian upper class and beyond, and will likely force Michel Temer, Brazil’s coup-monger president, to move out of the presidential house imminently, and this time, not because of alleged ghosts. The “Brazilian Miracle” is definitely outdated, and the major non-Hispanic country of Latin America is experiencing the worst political and institutional crisis of its history. On the other hand, a national council of Mexican indigenous groups backed by the Zapatista rebels just selected Maria de Jésus Patricio Martínez, a Nahua woman, as the country’s first indigenous presidential candidate. This as Mexico is said to enter the world’s 10 largest economies in the next few years, dangerously challenging its northern neighbor, for better or for worse.

Cards are shuffling quickly in the Americas and it seems that what we once expected from the north or the south might soon not matter anymore. Could it be time to reconsider our origins, to invent a new future, to finally get rid of our displaced modern ambitions and appropriate critically the performance of the exotic that cursed us for so long? In this issue of Terremoto, we will talk about places which don’t really exist as such, identities traded for others, landscapes that imprison us or, on the contrary, set us free, trying to set our landmarks aside as we look for a path towards new forms of consilience.

With contributions by: Fernanda Brenner, Tiago Carneiro da Cunha, Hank Willis Thomas, Modou Dieng, Devon Van Houten Maldonado, Pedro de Niemeyer Cesarino, Carolina Castro Jorquera, Cecilia Vicuña, Gabriel Mejía Abad, Marilia Loureiro, Pedro Victor Brandão, PDP (Public Display of Professionalism), Maria do Carmo M. P. de Pontes, Ilê Sartuzi, Ana Vaz, Luiz Roque, Cristiano Lenhardt, Bárbara Wagner, Benjamin de Burca, Paulina Ascencio, Fabiola Torres-Alaga, Alberto García del Castillo, César Zegarra, Susana Vargas Cervantes, Veronica Stigger.

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Terremoto 7 – La Vida Eterna. Dorothée Dupuis (ed.). Terremoto, Motto Books

Posted in 2016, distribution, magazines, Wholesale on October 25th, 2016
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Terremoto 7: Eternal Life

A move towards secularization–the minimization of the presence of religion in public life, has been driven by many modernizing governments and regimes during the 20th century. For many, religion remains the main explanation of worldly phenomena and institutional and familial logic, and its influence is usually persistent in the most intimate behaviors. However, lately religion has been portrayed in Western media as a source of violence and intolerance— forgoing its conciliatory role.

What is known as the “ontological turn” in contemporary anthropology is part of a pursuit to deconstruct the metaphysics and relativism underlying the very questions asked by the humanities about knowledge production and spirituality. Current work in social sciences, technology studies, science and the arts have continued to reshape the idea of spirituality by troubling Western canons, establishing a dialogue with manifold cosmologies to better understand the ways we can relate to the non human and the inhuman.

In Eternal Life, Terremoto seeks to explore accounts linked to the mystical, the spiritual, the carnal, and the incarnate in relation to the arts, but also within a broader cultural spectrum. Through such examination we move to reconcile desire with the awareness of sharing this earth and perhaps, the entire unbound universe, with other life forms and entities.

INDEX

Saskia Calderón by Nabil Ahmed and Manuela Moscoso; Daniel Garza Usabiaga on David Alfaro Siqueiros; Tobi Maier in conversation with Libidiunga Cardoso; Myriam Ben Salah in conversation with Martha Kirszenbaum; Sarah Schönfeld and Ashkan Sepahvand; Juliana Ossa on feminine religious mysticism in New Spain; François Bucher by Natalia Valencia; Eduardo Basualdo and Adriana Minoliti in conversation with Dorothée Dupuis; Noah Simblist on ethics in the art market; Fanny Drugeon on the Menil Collection; four poems by Frank Báez; Irmgard Emmelhainz on civil uprisings in Santa Fe in Mexico City; Trajal Harrell in conversation with Xavier Acarin.

22.5 x 34.5 cm
96 pages

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Terremoto 6. Dorothée Dupuis (ed.). Terremoto, Motto Books.

Posted in magazines on June 23rd, 2016
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The glare that a shadow can emit is evident in recent Latin American history, a history notoriously scored by oppression, violence, disappearances, and other painful secrets tossed into the gray areas of memory and to the margins of hegemonic historical accounts. In the shadow, you’re protected by the invisibility of marginalization—at the same time you’re made vulnerable by a lack of guarantees brought about through the neglect of the dominant power. The shadows that move through us are the constant reminder of what never changes: long-standing oppression and discrimination, perpetuated all around us in a political climate of abuse and tough luck. As we name them, draw their contours and seek to resolve their enigmas, we ask ourselves to what real end do we use artistic thought to gain awareness of those shadows? Can something change? Or are those ideas mere shadow play? 

Pigmentocracy in Contemporary Art

Susana Vargas Cervantes looks at the work of artists Zach Blas, Colectivo Zunga, Santiago Sierra and Erick Meyenberg through the concept of pigmentocracy. … — By Susana Vargas Cervantes

 

COMOClube

Amilcar Packer tells the story of Como_clube in Sao Paulo, a mutant platform for artistic creation and an environment of undisciplined living which favors free movement between genres, generations, political and socioeconomic situations, fostering performance-related productions. …

— By Amilcar Packer

 

Las Nietas de Nonó

Puerto Rican artists Sofia Gallisá and las Nietas de Nonó discuss their approach to the prison system in Puerto Rico and the cycle of poverty and racial and class discrimination that feeds it. …

— By Sofía Gallisá Muriente

 

Méthode Room

Guillaume Désanges talks about his experience developing the Méthode Room residency project at Archive House, within Theaster Gates’ Dorchester Project in South Side in Chicago. …

— Guillaume Désanges

 

Yɨsɨrihaɨ: Healing that rescues the shadow from genocide

Colombian artist Bárbara Santos gives an account of the making of the book Los Jaguares del Yuruparí (2015), which presents the outcome of more than 10 years of research conducted by indigenous young people from the communities of Pira-Parana in the Colombian Amazon -under the guidance of the traditional knowledge of their elders- on cultural and sacred knowledge related to the territory and its management. …

— By Bárbara Santos

 

 A discussion with contemporary Nicaraguan Artists

Mexican curator Oliver Martínez Kandt talks with Nicaraguan artists Raul Quintanilla, Patricia Belli, Fredman Barahona, Darling López and Alejandro de la Guerra about their relation with the social, ecological and cultural urgencies of their context. …

— By Oliver Martínez-Kandt

 

 

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Terremoto #5. Dorothée Dupuis (ed.). Terremoto/Motto Books

Posted in art, distribution, magazines on April 6th, 2016
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Terremoto 5
Winter 2016

COLOPHON

FRANCESCO PEDRAGLIO’S PÁJARO PIEDRA. MANUEL CORREA IN DIALOGUE WITH WADE DAVIS AND RAYMOND BOISJOLY. SOL CALERO IN CONVERSATION WITH ELISE LAMMER. DIEGO DEL VALLE RÍOS ON CLEMENTE JACQS. NAOMI FISHER IN CONVERSATION WITH DOROTHÉE DUPUIS. PEDRO NEVES MARQUES ON PAULO TAVARES AND BETO SHWAFATY. LAURA HUERTAS MILLÁN ON PATRICIO GUZMÁN. JOSÉ ARAMBURO CLIMBS THE SUMMIT. FRANÇOIS CUSSET AFTER THE UTOPIAN SLEEP. TERENCE GOWER ON CONVERSATION WITH NATALIA VALENCIA. HERIBERTO YEPEZ ON TIJUANA’S BORDER ART [1992-2014]

INDEX


Pájaro piedra: En retrospectiva, esto te parecerá hermoso / Pájaro piedra: One day you’ll find this beautiful
Por / by Francesco Pedraglio

En ningún lugar, hoy: internet, oralidad e historiografía. Manuel Correa en diálogo con Wade Davis y Raymond Boisjoly / Nowhere, today: internet, orality and historiography. Manuel Correa in conversation with Wade Davis and Raymond Boisjoly
Por / by Manuel Correa

¿Cuál es la esencia del Caribe? Elise Lammer y Sol Calero hablan sobre la crítica de la exotización tropical y caribeña en la práctica de la artista / What is the essence of the Caribbean? Elise Lammer and Sol Calero discuss the artist’s critique of tropical and Caribbean exoticization
Por / by Elise Lammer & Sol Calero

Clemente Jacqs no es una salsa catsup: sobre un laboratorio de experimentación visual que operó en Guadalajara en los 2000’s / Clemente Jacqs is not a brand of ketchup: about a visual experimentation laboratory in 2000’s Guadalajara
Por / by Diego del Valle

Mujeres caídas: Naomi Fisher sobre el lugar de la feminidad, la celebración y la naturaleza en su obra, en conversación con Dorothée Dupuis / Fallen Women: Naomi Fisher on femininity, celebration and nature in her work, interviewed by Dorothée Dupuis
Por / by Dorothée Dupuis

Brasil, medio ambiente mortal: sobre el trabajo del artista Beto Shwafaty, el arquitecto Paulo Tavares, la amazonía y el desarrollismo. / Brazil, Deadly Environment: about the work of artist Beto Shwafaty and architect Paulo Tavares, “developmentism” (desinvolvimentismo) and Amazonia.

Por / by Pedro Neves Marques

Cuerpos celestes: Laura Huertas Millán sobre la obra del director chileno Patricio Guzmán Celestial Corpses: Laura Huertas Millán on Chilean filmmaker Patricio Guzmán

Por / by Laura Huertas Millán

Escalando la cima: triunfos y derrotas de una resaca bogotana / Climbing the summit: triumphs and defeats of a Bogotá hangover

Por / by José Aramburo

Después del sueño utópico: resistiendo la resaca de la pesadilla ideológica de nuestros tiempos neoliberales / After the Utopian Sleep: an attempt to resist the hangover born from the ideological nightmare of our current neoliberal times

Por / by François Cusset

Terence Gower y Natalia Valencia hablan sobre la abstracción y la resaca arquitectónica /Terence Gower and Natalia Valencia discuss abstraction and the architectural hangover
Por / by Natalia Valencia

Productores mutantes: El arte fronterizode Tijuana 1992-2014 / Mutant productors : Art from the border in Tijuana 1992-2014

Por / by Heriberto Yépez

EDITO
SPANISH

Todas las Fiestas del Ayer
11 de enero – 28 de marzo de 2016
La resaca es un estado alterado, tan absorbente y alucinante como la embriaguez. Ambivalente e impredecible, puede producir depresión u optimismo irracional; puede liberarnos del temor y prolongar la euforia de una celebración, o simplemente aumentar la paranoia de Esta Inminente Fatalidad. A medida en que el mundo se vuelve cada vez más injusto, intolerante y amnésico, abordaremos preocupaciones relacionadas con los giros cada vez más conservadores de nuestras sociedades por medio de múltiples aproximaciones a los recuerdos borrosos de las fiestas del ayer.
Con esta edición celebramos un año de supervivencia en el mundo editorial independiente, permitiéndonos una cierta complacencia en este estado alterado de euforia culpable, anticipando el inevitable fracaso de algunos de nuestros planes y utilizando la resaca como metáfora de la desilusión generada por los ideales rotos. Si, como evoca Clarice Lispector, “La belleza de Brasilia son sus estatuas invisibles”, queremos enfatizar precisamente en el aspecto más real de la utopía: su dimensión imaginaria.
A través de una variedad de voces, historias y conversaciones que reflejan este bucle mental de placer y ansiedad, esta edición discutirá las posibles motivaciones que harán que valga la pena la próxima celebración, así nos produzca resaca una y otra vez.

EDITO
ENGLISH

All Yesterday’s Parties
January 18 — March 28, 2016
The hangover is an altered state, as absorbing and mind-bending as drunkenness. Ambivalent and unpredictable, it may depress you or, on the contrary, infuse you with irrational optimism. It can free you from fear, prolonging the euphoria of a celebration, or it might just increase the paranoia of this impending doom. As the world becomes increasingly more unjust, intolerant, and amnesiac we’ll address current concerns related to the conservative turn of society by means of manifold approaches to the hazy memories of yesterday’s parties.
With this issue, the magazine celebrates one year of survival in independent publishing by reveling on this altered state of guilty euphoria, anticipating the inescapable failure of some of its future plans–using the hangover as a metaphor for the disillusion brought by broken ideals. If, as Clarice Lispector evoked, “The beauty of Brasilia is its invisible statues”, we will emphasize the imaginary dimension of utopia, which is by definition it’s most real aspect.
Through a variety of voices, tales, and conversations reflecting on this mental loop of pleasure/ withdrawal the issue will discuss the possible drives that make the next celebration still worth it, may it have us wake up hung-over, time and again.

TERREMOTO
Contemporary Art in the Americas
.
Baja California 64-F, Roma Sur 
06760 Ciudad de México, México, 
Tel. + 52 55 70364603. 
terremoto.mx / magazine@terremoto.mx.
Terremoto es una publicación trimestral bilingüe sobre arte contemporáneo en las Américas, publicada y distribuida por / Terremoto is a quarterly, bilingual publication about Contemporary Art in the Americas, published and distributed by:
En México, Latinoamérica y Estados Unidos:
Temblores Publicaciones S.A. de C.V. Baja California 64-F, Roma Sur, 06760 Ciudad de México, México Tel. +52 55 70364603. distribution@ terremoto.mx.
En Europa, Nueva York y Canadá:
Motto Books: www.mottobooks.com www.mottodistribution. com stores@mottodistribution.com.
Impreso a 4000 copias el 25 de febrero de 2016 por / Printed in 3000 copies by: Realización Gráfica Torquemada 103B Col. Obrera, México D.F. Derechos reservados. Se prohíbe la reproducción total o parcial del contenido por cualquier sistema o método incluyendo electrónico o magnético sin previa autorización del editor. No nos hacemos responsables por material no solicitado. / All rights reserved. Without the explicit authorization of the editors, no text published in Terremoto can be reproduced. Terremoto is not responsible for any material delivered by its writers without the consent of their authors. www.mottobooks.com

Published by Terremoto and Motto Books
ISBN: 978-2-940524-42-6

Foto de portada / Cover image:
Naomi Fisher, You know that it’s real if you feel that it’s real, 2013. Cibachrome, 50 x 60”. © Naomi Fisher.

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