mexican rabbit

maudslay's paper moulds at blythe house

in memoriam Eduardo Galeano /// thanks SW

1520: Brussels Durer

These things must be emanations from the sun, like the men and women who made them in the remote land they inhabit: helmets and girdles, feather fans, dresses, cloaks, hunting gear, a gold sun and a silver moon, a blowgun, and other weapons of such beauty that they seem made to revive their victims.
The greatest draftsman of all the ages does not tire of staring at them. This is part of the booty that Cortes seized from Moctezuma: the only pieces that were not melted into ingots. King Charles, newly seated on the Holy Empire's throne, is exhibiting to the public the trophies from his new bits of world.
Albrecht Durer doesn't know the Mexican poem that explains that the true artist finds pleasure in his work and talks with his heart, because he has one that isn't dead and eaten by ants. But seeing what he sees, Durer hears those words and finds that he is experiencing the greatest happiness of his half century of life.


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The Mexica (Aztec) king Motecuhzoma greeted Hernan Cortés in 1519 with gifts of gold, silver, and precious stones, including jewelry, ornaments, headpieces, disks, garments, shields, and helmets. Cortés sent the tribute to Charles V, king of Spain and emperor of the Holy Roman Empire, who placed them on exhibit in 1520. Albrecht Dürer viewed the exhibit in Brussels and extolled its beauty in his travel journal: 

At Brussels is a very splendid Townhall, large and covered with beautiful carved stonework, and it has a noble, open tower. . . . I saw the things which have been brought to the King from the new land of gold, a sun all of gold a whole fathom broad, and a moon all of silver of the same size, also two rooms full of armor of the people there, and all manner of wondrous weapons of theirs, harness and darts, very strange clothing, beds, and all kinds of wonderful objects of human use, much better worth seeing than prodigies [myths, fairy tales]. These things were all so precious that they are valued at 100,000 florins [guilders] All the days of my life I have seen nothing that rejoiced my heart so much as these things, for I saw amongst them wonderful works of art, and I marvelled at the subtle Ingenia of men in foreign lands. Indeed I cannot express all that I thought there.

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It is quite clear from the passage that Dürer’s admiration is of riches, curiosities, and craft. When he discusses Western “art” he uses different terms, such as proportion, or alludes to comparisons with antiquity. Contrary to usual interpretations, he doesn’t marvel at the “art” of the New World, he marvels at the “curiosities” and “craft.”
Yet by the eighteenth century what were “heathen idols” had become art. Europe was more secular and Mexico was less afraid of native religious revivals. When three Aztec sculptures came to light in the construction in the Zócalo of Mexico City in 1790, two were left visible and eventually moved to a new museum devoted to antiquity. The third, a colossal idol-like female figure, was reburied for some time for fear of its effect on the natives. By the end of the nineteenth century, however, it had found its place in the museum too. Plaster casts were made of the sculptures and exhibited in 1824 in London for a public eager to see exotic monuments. 
http://www.columbia.edu/~ep9/articles_thinking.html
 

mexican altar / cholula

where the past dominates the present

mexican hummingbirds

estate

A ruin is not, however, a proof as such. Only a narrative that would integrate the ruin as the object of its plot could transform it into one. The degree of consistency of this narrative is consequently proportional to the degree of truth that it will reach. In other words, we should avoid thinking of justice as the place where “true truth” is established, but rather as the forum—the same etymology as forensic—where “public truth” is debated. Similarly, the law should be less seen as the embodiment of a perfectly ethical set of rules but, rather, as the product of historical dominations crystalized into legislative norms. The public truth is therefore public insofar that it represents the ideological domination at work at the time this truth is constructed.

The Speech of Things

By Léopold Lambert

 http://thenewinquiry.com/essays/the-speech-of-things/

Как делать стихи?

cholula

benito juarez internatonal

The earliest maps of Mexico city are the 1524 Nuremberg Map and the Uppsala Plan from 1555 ....They consist of very few features - main streets, large rectangular areas, a few scattered houses, boats and fish.On close inspection, the first maps of the city are nothing more than Cartesian reduction of space, diagrams imposed upon a territory which was, to a great extent, only water.....


....Those tears are a simple moist tribute to landing on that great desert lake fed by rivers that have dried up or been channelled underground, and which today seem like little more than empty, arid words ; Churubusco, Hondo, Magdalena, Chico, Colmena, Piedad, Mixcoac, Tacubaya.


Luiselli

sua cuique persona