Dossier Advento

8/14/2019 Dossier Advento

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Social Architecture:

An art capable of weaving relationsbetween various social disciplines, a pla-ce where the space, the artist and societycan all articulate their own experience

Raymundo Sesma


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P E R M A N E N T C O L L E C T I O N

1 9 9 5 - 2 0 0 1


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INDEX1 INTRODUCTION

2 ADVENTO

3 ACTIVITIES

4 EXHIBITION

5 INTERVIEW

6 TECALI

7 TALAVERA

8 AUTHORS

9 ONYX AND MARBLE WORKS

10 TALAVERA WORKS

11 SPECIAL PROJECTS

12 ADVISERS

13 INSTITUTIONS

14 SPONSORS

14 CREDITS


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INTRODU

CTIONAdvento A.C. is a civil association of philanthropic

character. It aims to create a bridge between the

developed and less advanced sector of the society, where

the house is understood like a large house, which is the

city, becomes a laboratory generator of ideas that

influences direct and indirectly the society, developing

projects for specific problems and contexts.

Advento creates programs that include diagnosis of the

land; promotion and diffusion; use and qualification of

the manual work; formation and technical attendance to

the production, as well as the appraisal of the cultural

identity of the product. Advento has advisers in the areasof environmental and ecological design; craft design;

interior and public design; editorial design; landscape

design; graphic design and corporate image; architecture

of the landscape; urban design; architecture, curatorship

of contemporary art and museography.

Until now, around 800 people have participated in

Advento, directly or indirectly according to the event,

project or discipline, developing ideas that are applied

within a social context without profit aims. Each participant

donates an idea that is proposed to a specialized

international commission in the different areas. These

ideas are evaluated not only by their aesthetic or practical

qualities but by their possible repercussions within the

social context.


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Advento

Advento A.C. is a project conceived and headed by RaymundoSesma, multidisciplinary artist who lives and works in the citiesof Milan and Mexico City since 1980.

It consists mainly as a creative act. Its primary objective is todevelop a superior level of civilization, given that the commongoal of all artistic activity is societal building.

Tecali, House of Stone (of the nahuatl tetl stone and callihouse) entails the collective edification of a place, a house anda city in which all work should contribute to the union of artistand craftsmen.

The project tries to establish an infrastructure that benefits thelocal and regional economy, that allows the cultural and socialdevelopment of the people of Tecali as well as of those whowish to help the project.

It also proposes to enrich, protect and distribute the artisticand craftmens work in Tecali, and convert it into a place wherethe many ideologies and cultures of the world can live together.

AD

VENTO


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1995

1st. Festival of Art & CultureTecali, Puebla, Mexico

Onix & marble Crafts CompetitionTecali, Puebla, Mexico

Contemporary Art ExhibitionPavillion of Contemporary Art . Tecali, Puebla, Mexico

Concert 3D SoundEx-convent . Tecali, Puebla, Mexico

Exhibition by Yolanda GutierrezPavillion of Contemporary Art . Tecali, Puebla, Mexico

1996

Hands & ArtPavillion of Contemporary Art . Tecali, Puebla, MexicoUniversidad de las Americas . Puebla, MexicoPalacio de la Cultura . Tlaxcala, Mexico

2nd. Festival of Art & CultureTecali, Puebla, Mexico

Cuba, El lugar en que nacimosPavillion of Contemporary Art . Tecali, Puebla, Mexico

Septiembre, Photograph ExhibitionPavillion of Contemporary Art . Tecali, Puebla, Mexico

Giuliana Traverso, El circuito del colorPavillion of Contemporary Art . Tecali, Puebla, Mexico

Kalevala AssambleGregorio de Gante Theatre . Tecali, Puebla, Mexico

Silent archeologyPavillion of Contemporary Art . Tecali, Puebla, Mexico

Tecali, house of stoneUniversidad Benemrita Autnoma de Puebla . Puebla, Mexico

ACTIVITIES


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1997

Ambra Polidori, ElegiasPavillion of Contemporary Art . Tecali, Puebla, Mexico

Gilberto Chn, Al filo de la navajaPavillion of Contemporary Art . Tecali, Puebla, Mexico

Exhibition by George WoodmanUniversidad Benemrita Autnoma de Puebla . Puebla, Mexico

International Congress of DesignNational Center of the Arts . Mexico City, MexicoPrincipal Theatre . Puebla, Mexico

House of StoneMexican Gallery of Design . Mexico City, Mexico

Sanar

Ex-hospital . Tecali, Puebla, Mexico

1999

Italian Design: Compasso doro, Pinifarina and InteriorFundacin Cultural Bancomer . Mexico City, Mexico

Anna Castelli FerrieriMuseo Amparo . Puebla, Mexico

Compasso doro

University Museum of Puebla . Puebla, Mexico

Arte-factobersee-Museo . Bremen, GermanyBrgerhalle im Rathaus . Bremen, Germany

2000

International Biennal DesignSaint Ettiene, France

Premio Internazionale HumanwareMilan, Italy

2001

Conferences: Alessandro Mendini & Jess MoctezumaMuseo Tamayo . Mexico City, MexicoUniversidad Cuauhtmoc . Puebla, Mexico

ACTIVITIES


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EXHIB

ITIONADVENTO, A.C.PERMANENT COLLECTION

1995-2001

Travelling exhibition curated by:Raymundo SesmaPaula BelloAlejandro Rivera

ContentsOnyx & marble works: 48Talavera works: 29Special Projects: 13

AuthorsNumber: 47

PhotographsAngela ArziniagaElizabeth CastroEverardo RiveraSergio Gonzlez20 photographs: 20 X 20 cm.20 photographs: 40 X 40 cm.

Data cardsEach piece comes with its own data card

Museography:A print of 3 X 5 m with aphorisms by Eligio CaldernRest of museography provided by the host institution

TransportationTotal weight of the exhibition: 750 kg.Total volume of the exhibition: 15 m3

Number of boxes: 13

InsuranceTotal coverage: $118 940.00(One hundred eighteen thousand nine hundred and forty US Dollars 00/100)

SupplementContemporary Art ExhibitionCurated by Jaime Contreras


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lnterview with Raymundo Sesma

by Ambra Polidori

What does Advento mean in the context of your work?

Literally Advento means what comes next, what will follow.Advento looks at humanity and society as caretakers for thefuture. Adventos aim is for todays development to be contin-ued tomorrow.

When was the idea of Advento born?

It was born when I was 23 years old, due to a casual visit toTecali, Puebla when I realized that this was the last social ves-tige of a Franciscan urban utopia. lts urbanization which datesfrom the 16th century has hardly changed up to the presentday, perhaps about 20%. The majority of the inhabitants ofTecali have been onyx and marble craftsmen since the arrival of

the Spaniards. Architecturally speaking t has a magnificent16th century ex-convent, with two water deposits dating fromthat era which are wonderful examples of Franciscan engineer-ing. There is also a theatre dating from the 18th century.

Using the idea that we should build on what has been achievedthrough the centuries, I realized that not only in Tecal but inmany parts of Mexico one of our great problems, not only cul-turally, artistically and economically speaking, is that we havenot taken full advantage of the natural conditions offered to usby crafts in Mexico and this has given rise to a situation of greatpoverty and ignorance.

It was then that I decided to found this project, not only inorder to develop an idea in relation to art but also to activelyparticipate in a committed way in a collective project. We needcraftsmen as much as they need us and not only from an artis-tic point of view but also culturally and economically.

Tell us about the symbol, the con designed for Advento:

a house touched by an arrow with two points?

Advento embraces the idea of place in a social context. That iswhy its symbol is the house where the arts and possibilities foraction converge. Actions from inside to outside and viceversa.In Advento, society is not excluded, but integrated into the on-going process of development of actions and the work of art asa vital part of what we are.

Adventos con was designed by an Italian, Alberto Luca, a friendand a brilliant man, now unfortunately deceased.

When you talk about Advento you mention a Social Ar-

chitecture. How does this concept emerge?

Social Architecture is an art form in search of a space outsideof a closed system (such as museums and galleries which are

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of secondary importance in Advento) where new relations be-tween man and art can exist. This experience will be definedby reflection opening upon itself in time. lt is as if the momentthe work of art becomes space itself the artist and society canjoin their experiences together. The most important element inthe concept of social architecture are the actions for example,the action of bringing artists and designers together with crafts-men; the action performed by the craftsman when he works on

a piece; the actions involved in carrying out a project for anexhibition, etc. That is to say my work as an artist, indepen-dently of the means, is to construct an idea that has enoughforce to become self-generating: through t I become thespeaker, the organizer, the installer, etc.

With the time of nature and life, art is once again positioned ina space-time dichotomy, that fourth dimension which opens the21st century. Thus Social Architecture does not intend tocreate only a work of art, but ah architecture that is composedof the space in itself. The work of art is therefore manifestthrough its actions and documentation, whether this takes theform of writing, photographs, videos, etc.

Social Architecture not as utopia but as eutopia (the place), aplace from which one constructs and experiments. A place orseveral places as observatories of reality, both artistic and so-cial as well as historical. A place which testifies in the sameway as art does: an idea which helps to solve specific problemsabout reality: about a way to interpret eutopia, in the sense ofagatopia (to aspire towards the best possible rather than to-wards an unattainable perfection), with respect to relationships,environment and social conditions.

Social Architecture understood as an experience, as recogni-

tion of our individuality as human beings endowed with a con-science and talents and with that consciousness through whichman becomes aware of his own identity .

What can you tell me about tradition in relation to So-

cial Architecture?

Social Architecture does not propose to rescue the past andtradition understood as involution, but perceives tradition aswealth, as evolution, as something alive and capable of beingtransformed.

What does the concept of construction obey?

The concept of construction obeys the idea of reinforcing a cen-tral image in relation to the planned intended content whichcan only be perceived in coincidence with the receptor (facilita-tor) in his intellectual and cultural capacity. For example ac-cording to Foucault one of the functions of thought is to ques-tion the origin of things, with the aim of establishing its founda-tions recovering- as he himself expressed it- the way in whichthe possibility of time, that origin without beginning from whichall things can be born, is constituted.

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This is how I understand Social Architecture as a possibilitythrough which the creative art process is carried out, and whichis a metaphor of the creative and critical structure of society:as a constructive element in a wider operational field.

Going back to the projects early phase and continuing

on the subject of construction, can you tell me a tittle

more about Tecal and the work that you are carrying out

there?

Given that Advento is principally an act of creation developedthrough actions and communications with people and institu-tions, our main objective is to reach a superior level of civiliza-tion. The goal of all artistic activity is the construction of socialawareness. Following this line of thought Tecali, house of stone(from the Nahuatl teti, stone and call, house) means, finally,the building of place: a house and a city built collectively inwhich the union of the artist and the designer with the crafts-man must be strengthened through all their activities. Giventhat Advento wants to establish a formative way of thinkingwith social, cultural and economic consequences, on the foun-dations where two cultures, the indigenous and the Europeanmix, we plan to build a new community order based on com-mon awareness, with a principle of learning in which art is con-verted into language, the tool through which society is raisedand transformed.

To achieve all this, an infrastructure is necessary, isnt

that so?

Yes, Advento needs to establish an infrastructure which directlybenefits the local and regional economy through various insti-tutions and enterprises. In this case t is Tecal (in the future

perhaps t will be a different place). t must allow for the socialand cultural development of the inhabitants of this region ofPuebla, as well as that of other Mexicans and foreigners whowish to collaborate with the project while at the same timebenefiting from t in other towns and cities of the world.

And what has Advento done so far towards achieving this

in Tecal?

Besides organizing many events such as art exhibitions, dance,theatre and music, Advento has invited professionals, investi-gators from different areas, artists and students from Mexicoand abroad to visit Tecali in order to enrich, protect and pro-

mote both the place itself and the artistic activities that takeplace there, thus converting t into a special place where ide-ologies and cultural tendencies from all over the world can co-exist: searching to promote a multidisciplinary approach as anexpression of our times, with the philosophy that what mattersis not the medium, but the sense that the artist, the designer orthe craftsman can express through t. A place where traditionsare recovered and where art and popular costumes are nur-tured close both to the historical roots of our culture and to thecontemporary tendencies of the present day.

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A space, a geography which looks towards the future and theworld as a place where the recognition and development of artare the fundamental principles.

What does Raymundo Sesma believe in fundamentally?

On what beliefs is Advento based?

Fundamentally Sesma believes in education and that things can

be achieved through will power and work. Advento believes ina global village, not in the sense of the destruction of historyand culture in favor of uniformity, but rather in the sense oftotality, cultural wealth and constant communication with our-selves, others and the world. t believes in an environment madeby mankind for mankind, in the knowledge of our individualityas human beings and in full consciousness of our own identity.The historical moment which we are living requires a new vi-sion, an attitude that will allow us, starting from our own par-ticular reality, to implement current interpretative categorieswith universal meanings. A work of art is not only the result ofpersonal but also of the collective experience. Therefore Adventoencourages the dynamic participation of society both in its ownevents and in the possible solutions to the problems that deter-mine t. Finally Advento attempts to preserve the best and cre-ate, influence and modify -with the desire to construct- ideasand modes of thought applied to different levels of social, ethi-cal and cultural actions.

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Tecali, a short commentary on its history

by Eduardo Merlo

Originally it was founded by groups of toltec origin, as thetotomihuaque and cuauhtincantiaca were. This happened duringthe 12th century.

In the begining it was only a small part of the religious-politicalcenter of Cuauhtinchan, located a few kilometers away.

The invasion by the chichimecans profoundly changed theorganization of the (seorios) of the region. As a result of thisthe town of Tepeyacac (Tepeaca) surfaced. Tecali became asubject of it, since the old center floundered.

The conquests of the mexica-tenochca, headed by the valiantAxayacatl, reduced Tepeyacacs stature and forced it to pay aheavy tribute. Tecali then had to increase its forced tribute toTepeyacac, specially in the amount of tecali stone. By this timethe town has the name of Tecalco: The place with the housesof stone. Although this could also mean that the inhabitants of

the town were tecaleque, people who had the right to ownland.

With the arrival of the spanish conquerors, it was captain Gon-zalo de Sandoval who had the task of conquering and pacifyingthe region. With the organization that the Spanish Crown madeup to for the conquered towns, Tecali was still a subject ofTepeaca in both political and religious terms.

Fortunately for the town, it was made a town of the Crownwhich meant that it was except from the tribute to the crown.

Promptly the townspeople took advantage of the (vetas) of onixfor hispanic construction and introduced the (cria) of small cattle:

bovine and sheep.

TECALI


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The story of Talavera

by Eduardo Merlo

Emperor Carlos V confirmed the petition of the franciscan monksthat Puebla be put under the protection of all the angels. Thesecelestial beings, obedient to these mandates and requestsinstalled themselves comfortably in every available space.Probably the closest thing to the nature of these beings was themayolica, which presents them as beautiful, full of smoothness,brilliant and polychromy; such as they appear in many places,specially in the dome base of the Chapel of the Rosary, oureight wonder. From here that the title of the city only becomecorrect when a representative adition is made: Puebla of theAngels of Talavera.

This exquisite fine ceramic is clearly not from Puebla, its noteven talaveran in origin. It was in Ur of Chaldea, in Babylon, inthe celebrated Perspolises, where it was first elaborated, piecesof glazed clay and polychromium-plating decorating palaces andtemples

It was until many centuries later that the muslims distributedthe technique everywhere the arab dominance of most thethe Mediterranean extended them to sultanates and caliphates,specially in the beautiful Andalucia. The noble art of transformingceramics, clays and kaolins into the most incredible pieces ofart had its apogee in the area of Toledo, but most importantl inthe town called Talavera. Later, due to the royal protection placedupon it by Her Majesty, Doa Isabel the Catholic, it would becalled: of the Queen.

Talavera of the Queen became the pride of the reunited christianSpain. The ceramic workshops retained the arab name of alfares:al refering to Allah and fare that means the work, inother words the work of Allah. The marvelous and divine workof the Supreme being, giving shape and finish to a ceramic the

still follows the ancient recipes of the persians and sumerians.

Observing the etimology of the word talavera we come upona pleasant surprise. Originaly believed to be moor, it turns outto actually be a mix of visigoth and latin: tala is the root ofcraft, cut, etc. And vera means true. This means where realcrafts are made.

In Spain this type of ceramic is known as mayolica, because itis said that it began in Mallorca, an island of the Baleares.

Soon after the spanish conquered Mexico, the city of Puebla ofthe Angels was founded by intervention of the franciscan monks.This was an interesting experiment in that only spanish would

live inside the grid-like city. The city recived many royal stimuli,the result being the installation of many industries. One of thiswas that of the alfares, the old work of Allah now guided bychristianity to the greater glory of God.

Puebla, ever since the 1540s, had its altar that took advantageof the marvelous clay of the mount of Loreto and the ceramicsof Totimehuacan to create and recreate the unmatched piecesof Talavera, as it has always been called. Ever since itsbeginnings its tried to be counter to the toledan one. A localflavor was added, so to differentiate it from the iberic one.

TAL

AVERA


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While the 16th century was full of beautifully carved stone, the17th century made use of the Talavera to such a degree thatsoon the many domes, starting with the Cathedrals, wereresplandecent in their tiles coverings. Later, walls and floorswere combined with the brick and stone to create the poblanobarroque, which was complemented with a visual dessert fromthe plaster shop.

Great examples are the walls of Santo Domingo, of Belen andof Carmen. All these domes are decorated in colors accordingto the clothing of the patron saint. And the facade like those ofthe House of Raboso or the Muecos, which represent manymiths of southeast asia; this was due to the fact that in Pueblathere was great trade and influence with China, Indochina andthe Philipines.

Museums and famed collections show off the beauty of the vases,plates, basins, sculptures, columns and thousand trinckets more,which are correctly called Talavera poblana.

The colonial age gave way to the republican one, and slowly tothe modern. A great deal of the greatness of old was lost due toignorance and speculation. Fortunately, the technique, the

secrets and the wonders of the Talavera poblana were passedfrom generation to generation of craftsmen, workers of Allah,that kept the tradition intact, just adding the logical, naturaland necesary wisdom of each age.

Its worth mentioning that for an extremely long time,imagination seemed to disappear from the craftmens work,practically from the moment in which the traditionalist painters,like Arrieta, copied in their still lives the beautiful pieces ofTalavera. Without explanation, there came an age of plain andsimple imitation of the older forms and decorations. Sometimesbarely enriched with mexican and traditionalist landscape,inspired by the artists of the 1920s and 1930s. Other thanthat, there has been absolutely no innovation or contribution,

its like this century has passed unseen.

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AVERA


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AU

THORSAdn Paredes

Alberto Kalash

Alejandro Ramrez Lozano

Alessandro Mendini

Ana Rita Garca Lascurain

Anali Segal

Angel RosAracely Vzquez Contreras

Betty Woodman

Carlos Blanco

Carlos Luna

Carlos Villanueva

Claude Bouchard

George Woodman

Gerardo Zarr

Germn Montalvo

Gustavo Prez

Ilona TrmikoskiIvonne Domenge

Jan Hendrix

Javier Bravo Ferreira

Jess Moctezuma

Jose Meza

Julin Villaseor

Karin Waisman

Kazumasa Nagai

Keizo Matsui

Luca Bray

Luis Lpez Loza

M. Portella

M. Suro

Mara Luisa Dieppa

Massimo Zucchi

Miguel Castro Leero

Octavio Garca Rubio

Pablo Kunst

Paula Bello

Raymundo Sesma

RegazzoniRicardo de Pirro

Rita Galle

Roberto Turnbull

Sara Potter

Selene Lazcarro

Sergio Sotelo

Silvino Lpez Tovar

Teemu Oksanen


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W

ORK

SHOPSAngel Mario Tllez

Artesanas Finas

Arturo Velasco Mota

Candido Morales Flores

Concepcin Contreras

Familia Meza

Gustavo Prez

Hctor Lpez

Mrmoles Soto Mrquez

Rogelio Meza Hernndez

Taller Talavera Santa Fe

Tllez Hermanos

Uriarte Talavera

Valente Snchez Cerezo


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Alejandro Ramirez

Untitled2001

H 12 cm.D 31 cm.

We 5.140 kg.

$ 300.00 USCY

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Untitled2001

H 8.5 cm.W 32.5 cm.

L 20.5 cm.

We 2.80 kg.

$ 150.00 USCY

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Alejandro Ramirez


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ONYX

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Untitled2001

H 50 cm.W 5 cm.L 7 cm.

We 3.460 kg.

$ 300.00 USCY

Anali Segal


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ONYX

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Untitled2001

H 6 cm.D 39 cm.

We 9.470 kg.

$ 500.00 USCY

Carlos Blanco


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Untitled2000

H 10 cm.W 26cm.

L 34.5cm.

We 3.240 kg.

$ 500.00 USCY

Claude Bouchard

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Claude Bouchard

Untitled2000

H 5 cm.W 30cm.L 30 cm.

We 3.740 kg.

$ 400.00 USCY

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German Montalvo

Untitled1997

H 2.5 cm.D 30 cm.

We 1.410 kg.

$ 300.00 USCY

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German Montalvo

Untitled1997

H 3 cm.D 30 cm.

We 1.420 kg.

$ 300.00 USCY

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Untitled2001

H 40 cm.D 15 cm.

We 6.050 kg.

$ 400.00 USCY

Gustavo Prez

ONYX

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Ilona Trmikoski

ONYX

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Pyramides2001

Three pieces:H 2 cm.

W 15 cm.L 15 cm.

We (total) 2.610 kg.

$ 120.00 USCY


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Ilona Trmikoski

ONYX

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Wavy wall2001

Four pieces:H 4 cm.

W 15 cm.L 15 cm.


$ 150.00 USCY


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Ilona Trmikoski

ONYX

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Hoyos de luna2001

Three pieces:H 2 cm.

W 15 cm.L 15 cm.


$ 120.00 USCY


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ONYX

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Untitled1997

H 17 cm.W 35 cm.L 44 cm.

We 6.200 kg.

$ 1000.00 USCY

Ivonne Domenge


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Untitled2001

H 11.5 cm.D 27.5 cm.

We 6.320 kg.

$ 250.00 USCY

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Untitled2001

H 27 cm.D 15 cm.

We 3.320 kg.

$ 100.00 USCY

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Untitled2001

H 26.5 cm.D 33.5 cm.

We 2.760 kg.

$ 600.00 USCY

Jesus Moctezuma

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Untitled2001

H 44.5 cm.D 35 cm.

We 17.450 kg.

$ 800.00 USCY

Jesus Moctezuma

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Untitled2001

H 23.5 cm.W 19 cm.

L 19 cm.

We 8.300 kg.

$ 500.00 USCY

Jesus Moctezuma

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Untitled2001

H 12.5 cm.W 18 cm.

L 32.5 cm.

We 2.600 kg.

$ 100.00 USCY

Jos Meza

ONYX

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Julian Villaseor

Untitled1997

H 13 cm.D 20 cm.

We 2.650 kg.

$ 150.00 USCY

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Julian Villaseor

Untitled1999

H 12.5 cm.W 20 cm.L 20 cm.

We 7.100 kg.

$ 150.00 USCY

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Mara Luisa Dieppa

ONYX

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Untitled1998

H 41.5 cm.D 33.5 cm.

We 12.620 kg.

$ 2000.00 USCY


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Massimo Zucchi

ONYX

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Untitled2000

H 30 cm.W 16.5 cm.

L 25 cm.

We 15.100 kg.

$ 700.00 USCY


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Massimo Zucchi

ONYX

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Untitled1996-97

H 59 cm.D 26.5 cm.

We 16.100 kg.

$ 2000.00 USCY


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ONYX

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Untitled2001

H 17 cm.W 16 cm.L 31 cm.

We 8.010 kg.

$ 400.00 USCY

Nestor Perkal


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ONYX

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Untitled2001

H 11.5 cm.W 11 cm.L 35 cm.

We 2.770 kg.

$ 300.00 USCY

Octavio Garca Rubio


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Untitled1999

H 4.5 cm.D 50 cm.

We 7.090 kg.

$ 600.00 USCY

Pablo Kunst

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Pablo Kunst

Untitled1999

H 4.5 cm.D 50 cm.

We 7.590 kg.

$ 600.00 USCY

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Untitled1999

H 4.5 cm.D 50 cm.

We 7.100 kg.

$ 600.00 USCY

Pablo Kunst

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Tetris2001

H 128 cm.W 56 cm.

We 10.400 kg.

$ 1000.00 USCY

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Paula Bello


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Paula Bello

ONYX

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Bola1997

H 5.2 cm, W 7 cm, L 18 cm, We 1.700 kg.H 5.2 cm, W 7 cm, L 18 cm, We 1.100 kg.

H 4 cm, W 5 cm, L 7 cm, We 0.810 kg.

$ 300.00 USCY


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ONYX

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Untitled1998

H 52 cm.D 14.5 cm.

We 4.920 kg.

$ 800.00 USCY

Raymundo Sesma


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Raymundo Sesma

ONYX

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Untitled1997

H 4 cm.W 44 cm.L 63 cm.

We 11.270 kg.

$ 700.00 USCY


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Raymundo Sesma

Untitled1997

H 3.8 cm.W 38.5 cm.

L 60 cm.

We 6.890 kg.

$ 700.00 USCY

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Raymundo Sesma

Untitled1997

H 2.5 cm.W 32 cm.

L 38.5 cm.

We 1.840 kg.

$ 300.00 USCY

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Raymundo Sesma

Untitled1997

H 2.5 cm.W 32 cm.

L 38.5 cm.

We 1.840 kg.

$ 300.00 USCY

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Raymundo Sesma

ONYX

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ARBLE

Untitled1997

H 57 cm.W 19 cm.L 45 cm.

We 4.530 kg.

$ 1500.00 USCY


58/109


59/109


60/109

Rita Galle

Untitled1998

H 27 cm.D 15.5 cm.

We 5.470 kg.

$ 500.00 USCY

ONYX

&M

ARBLE


61/109


62/109

Rita Galle

ONYX

&M

ARBLE

Untitled1997

H 2.5 cm.D 21 cm.

We 0.460 kg.

$ 150.00 USCY


63/109

Untitled1998

H 28.5 cm.W 34.5 cm.L 34.5 cm.

We 6.700 kg.

$ 600.00 USCY

Sergio Sotelo

ONYX

&M

ARBLE


64/109

ONYX

&M

ARBLE

Untitled1999

H 55 cm.W 25 cm.L 25 cm.

W 57.300 kg.

$ 2000.00 USCY

Sergio Sotelo


65/109


66/109

Untitled2001

H 20 cm.D 20 cm.

We 2.050 kg.

$ 250.00 USCY

ONYX

&M

ARBLE

Silvino Lpez Tovar


67/109

Untitled1996

H 5.5 cm.D 41 cm.

We 2.000 kg.

$ 700.00 USCY

Angel Ricardo Ricardo Ros

TAL

AVERA


68/109

Untitled1996

W 27 cm.L 69.5 cm.

We 2.100 kg.

$ 1500.00 USCY

Betty Woodman

TAL

AVERA


69/109

Untitled1996

W 26 cm.L 71 cm.

We 2.140 kg.

$ 1500.00 USCY

Betty Woodman

TAL

AVERA


70/109


71/109

Untitled1996

H 34 cm.W 22 cm.L 35 cm.

We 5.400 kg.

$ 2000.00 USCY

Betty Woodman

TAL

AVERA


72/109


73/109

Carlos Villanueva

TAL

AVERA

Untitled2000

11 pieces

$ 1000.00 USCY


74/109

Untitled1999

Each pieceW 12 cm.L 12 cm.

We 10.900 kg.

28 pieces / $ 1000.00 USCY

George Woodman

TAL

AVERA


75/109

Untitled1999

H 102 cm.D 22 cm.

We 12.700 kg.

$ 1000.00 USCY

Gerardo Zarr

TAL

AVERA


76/109

Untitled1999

H 96.5 cm.D 20.5 cm.

We 7.400 kg.

$ 1000.00 USCY

Gerardo Zarr

TAL

AVERA


77/109

Untitled1999

H 53 cm.D 24 cm.

We 5.400 kg.

$ 1000.00 USCY

Gerardo Zarr

TAL

AVERA


78/109

German Montalvo

TAL

AVERA

Untitled1997

H 5.5 cm.D 41 cm.

We 1.800 kg.

$ 700.00 USCY


79/109

Gustavo Prez

TAL

AVERA

Untitled2000

H 20 cm.W 7 cm.L 20 cm.

We 1.800 kg.

$ 700.00 USCY


80/109

Untitled2000

H 81.5 cm.D 48 cm.

We 20.000 kg.

$ 3000.00 USCY

TAL

AVERA

Jan Hendrix


81/109

Untitled1997

D 41 cm.

We 1.880 kg.

$ 700.00 USCY

Kazumasa Nagai

TAL

AVERA


82/109

Untitled1997

D 41 cm.

We 1.880 kg.

$ 700.00 USCY

Keizo Matsui

TAL

AVERA


83/109

Untitled1999

H 86.5 cm.D 50 cm.

We 20.300 kg.

$ 5000.00 USCY

Luis Lopez Loza

TAL

AVERA


84/109

Untitled1998

H 62 cm.D 35.5 cm.

We 9.600 kg.

$ 3000.00 USCY

M. Suro

TAL

AVERA


85/109

Untitled2000

H 7 cm.W 61 cm.

L 61 cm.

We 6.200 kg.

$ 1500.00 USCY

M. Portella

TAL

AVERA


86/109

Miguel Castro Leero

TAL

AVERA

Untitled1997

H 81.5 cm.D 48 cm.

We 19.700 kg.

$ 3000.00 USCY


87/109

TAL

AVERA

Miguel Castro Leero

Untitled1997

H 6 cm.W 61.5 cm.L 61.5 cm.

We 5.800 kg.

$ 1500.00 USCY


88/109

Untitled1999

H 100 cm.D 30 cm.

We15.900 kg.

$ 4000.00 USCY

Ragazzoni

TAL

AVERA


89/109


90/109

Untitled1996-97

H 27 cm.W 17 cm.L 35 cm.

We 2.860 kg.

$ 1200.00 USCY

Raymundo Sesma

TAL

AVERA


91/109


92/109


93/109


94/109

Raymundo Sesma

TAL

AVERA

Untitled2000

21 pieces

$ 3000.00 USCY


95/109

Untitled1999

H 82 cm.D 48 cm.

We 21.700 kg.

$ 3500.00 USCY

Roberto Turnbull

TAL

AVERA


96/109

Untitled2000

H 13 cm.D 43 cm.

We 3.300 kg.

$ 800.00 USCY

Sara Potter

TAL

AVERA


97/109

Alessandro MendiniJess Moctezuma

Art & Design MueseumTecali2001

Project

$ 1000.00 USCY

S

PECIAL

PROJECTS


98/109

Ana Rita Lascurain

Thermals of TecaliTecali1997

Scale Model

$ 1000.00 USCY

S

PECIAL

PROJECTS


99/109

Ana Rita Garca Lascurain

Thermals of TecaliTecali1997

14 DrawingsWatercolor, ink, pencil, pastel,

pigments, colored pencils & gouacheover cotton paper

14 drawings / $ 21000.00 USCY

S

PECIAL

PROJECTS


100/109

Paula Bello & Teemu Oksanen

CementeryTecali2001

Project

$ 1000.00 USCY

S

PECIAL

PROJECTS


101/109


102/109

Richard de Pirro

SchoolTecali1998

Scale Model

$ 1000.00 USCY

S

PECIAL

PROJECTS


103/109

Richard de Pirro

HotelTecali1998

Scale Model

$ 1000.00 USCY

S

PECIAL

PROJECTS


104/109

Richard de Pirro

Pavillion of Contemporary ArtTecali1998

Scale Model

$ 1000.00 USCY

S

PECIAL

PROJECTS


105/109

Selene Lazcarro

Graphic image Advento, A.C.Tecali1999

Thesis

$ 500.00 USCY

S

PECIAL

PROJECTS


106/109

ADV

ISERSAdalberto Palma Gmez . Alberto Kalash . AldoColonetti . Alejandro Ogarino R.E. . Alessandro

Bonfanti . Alessandro Mendini . Alonso Mateo .Ammon Barzel . Ana Rita Garca Lascurain . AndreaCancelatto . Andrea DCastro . Angel Ricardo Ros .Angela Arziniaga . Anna Steiner . Armando Glyka .Bety Woodman . Carlos Aguirre . Carlos Aranda .Carlos Carrera . Cecilia Martnez . Chiao Chin .Claudio Gonzles . Diego Mora . Eduardo Merlo .Eduardo R. Langagne . Eduardo Terrazas . ElizabethCastro . Enrique Jezik . Ercilia Gmez Maqueo Rojas. Ernesto Sesma . Eugenio Lpez Alonso . EverardoRivera . Ezequiel Farca . Flavio Lattuada . FrancoOrigoni . Galindo Carlos Blas . George Woodman .Gerardo Estrada . Gerardo Suter . Germn Montalvo. Gilberto Chen . Gilda Bojardi . Ginevra Savioli .Giorgio Upiglio . Giulio Castelli . Giuseppe Colangelo

. Gualtiero Dazzi . Guido Tucci . Guillermo Gonzles

. Hctor Alvarez Santiago . Henry Harper . IvonneAmor Plix . Jaime Contreras . Jaime Garca Amaral. Jaime Nualart . Javier Gonzlez . Javier de laMacorra . Jorge Lpez de la Barrera . Jos LuisMartinez . Juan Leal Ruz . Juan . Jos Daz Infante .Juan Luis Daz . Karin Waisman . Laura C. Gmez .Leoncio Salgado . Lilia Martnez . Lily Icassocer .Lourdes Monjes . Lucilla Meloni . Lucilla Zacca .Manuel Garca . Marco DLuceti . Mario Bennedetti .

Maru Rabadan . Massimo Zucchi . Miguel AngelCorona . Mnica Caldern . Nina Menocal . OmarGasca . Oscar de Len Montemayor . Oscar ReyesRetana . Osvaldo Snchez . Osvaldo Testoni . PatriciaMendoza . Rafael Portugal . Ricardo Viera . RichardDe Pirro . Rita Galle . Robert Punkenhofer . RosaOrtega . Santiago Espinoza de los Monteros . SeleneLascarro . Serge Fouchereau . Sergio Contreras .Tamara Kitain . Tere Gonzlez Guajardo . YolandaGutierrez Acosta


107/109

INSTITU

TIONSGobierno del Estado de Puebla . Gobierno Municipal de Tecali .

Secretara de Relaciones Exteriores SRE . Instituto Nacional de

Bellas Artes INBA . Instituto Nacional de Antropologa e Historia

INAH . Consejo Nacional para la Cultura y las Artes CONACULTA

. Fondo Nacional para la Cultura y las Artes FONCA . Museo

Carrillo Gil . Museo de Chopo . Fundacin Cultural Jos PedroCorreilla Da Silva, Lisboa Portugal . Studio Lattuada, Milan Italia

. Edit Foto . Agencia Olimpya, Milan . Grfica Uno, Milan . Instituto

Europeo del Diseo . Revista Interni . Pininfarina . Peridico

Sntesis . Uriarte Talavera . Fundacin BBV Bancomer . Franco

Origoni & Anna Steiner, Arq. Asociados . Cermica Contempo-

rnea Noe Suro , Guadalajara . Taller Mexicano de Gobelinos,

Guadalajara . OTTAGONO, trimestral de diseo industrial .

Universidad Nacional Autnoma de Mxico UNAM . Universidad

Autnoma Metropolitana UAM . Galera Nina Menocal . Bankers

Trust Company . Galera Ivonne Amor Palix, Paris, Francia .

Embajadas y Consulados de Mxico en Europa . el Gobierno del

Estado de la Brianza en Italia . Consulado General de Mxico en

Miln . Design Forum en Finlandia . Muse des Arts Dcoratifs

del Museo de Louvre . Museo Franz Mayer . Museo Tamayo .

Revista DeDiseo . Epson de Mxico . Technomoll de Mxico .

Amrico Editores . Libreras Gandhi . Gua de Diseo Mexicana

. Juntos Actuando por la Superacin, A.C . Artesanos de Tecali


108/109

SPO

NSORSConsejo Nacional para la Cultura y las Artes CONACULTA

Secretara de Relaciones Exteriores SER

Universidad Autnoma Metropolitana UAM

Gobierno del Estado de Puebla

Gobierno del Estado de la Brianza en Italia MIA

Design Forum Finland

Museo Franz Mayer

Juntos Actuando por la Superacin, A.C.

Gua de Diseo Mexicana

Revista de Diseo

Epson de Mxico

Technomoll de Mxico

Laser Foto de Mexico


109/109

Documents

Dossier Advento