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Antonio Álvarez Morán is a recognized artist from Puebla, his aesthetic vision merges three areas: art, popular and religious. Is an all-round artist who can either draw freehand, make a design in Photoshop, be the protagonist of a performance, a video or gossip from showbiz, or baptize with his last name a technique in which he combines encaustic with collage. This catalog shows works that cover the period from 1966 to 2018.
Puebla: Una ciudad noble y leal is a photographic book that shows us the depths of the modernization period that took place in the capital during the first eight decades of the 20th century. Through their images, we can peek ‘behind the scenes’ and find out how the different urban services were installed.
The photographs and historical documents are accompanied by descriptive texts and interesting introductory essays that reveal the context in which this transformation took place, as well as the conservation and rearrangement plan that led UNESCO to include Puebla as a World Heritage Site. in 1987.
The book explores multiple tensions that emerge in anthropological research (sociological, historical, in general) due to the commitment to a reflexivity about anthropology itself (a permanent and contentious process of social production in itself and beyond academic institutions).
Each chapter investigates part of those tensions, moving between different planes of reflexivity.
Propiedad y uso addresses the history of ancient books preserved in some of the first repositories in Mexico, their possession, their transit through different hands, and their use.
The volume is the result of the work carried out within the framework of the homonymous exhibition mounted in the Franciscan Library with almost 30 copies that, through these property marks, help to trace the path of each one of the documents.
Manifestos is a collective work, a series of texts that move between reflection and practice and make up a “manifesto of manifestos”, that is, a volume that presents the ideas that represents them in the current moment and circumstance.
Although each of the chapters corresponds to a personal position regarding their work as architects, academics and researchers, the objective is to generate a collective vision of what they do and think.
Beyond putting their postulates and the way they do things on the table, this work seeks to underline what distinguishes and identifies them.
♰ In memory of Beto (Torreón, Coahuila, 1964 – Puebla, Puebla, 2021).
Alberto Ibáñez gathers in the exhibition Dear painter, paint me works belonging to different series that he developed over almost twenty years of work. Ibáñez uses painting as a means of communication with the spirit of our time.
The artist collects images, events, stories and scenes that move between the social, the documentary and the artistic.
