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DEAL OF THE DAY

Arturo Martini. I capolavori

Treviso, Museo “luigi Bailo”, March 31 - July 30, 2023.
Edited by Stringa Nico and Fabrizio Malachin.
Cornuda, 2023; paperback, pp. 278, col. ill., cm 23x29.

cover price: € 33.00

Arturo Martini. I capolavori

Total price: € 33.00 € 97.00 add to cart carrello

Books included in the offer:

Arturo Martini. I capolavori

Treviso, Museo “luigi Bailo”, March 31 - July 30, 2023.
Edited by Stringa Nico and Fabrizio Malachin.
Cornuda, 2023; paperback, pp. 278, col. ill., cm 23x29.

FREE (cover price: € 33.00)

Arturo Martini. I capolavori

Studi su Arturo Martini. Per Ofelia

Edited by Matteo Ceriana and Claudia Gian Ferrari.
Milano, Atti del Covegno, 19 maggio 2008.
Milano, 2009; paperback, pp. 136, 97 b/w ill., cm 17x24.

FREE (cover price: € 29.00)

Studi su Arturo Martini. Per Ofelia

Canova. L'invenzione della gloria. Disegni, dipinti e sculture.

Genova, Palazzo Reale, April 16 - July 24, 2016.
Edited by Giuliana Ericani and Franceasco Leone.
Roma, 2016; paperback, pp. 306, col. ill., col. plates, cm 23x30.

FREE (cover price: € 35.00)

Canova. L'invenzione della gloria. Disegni, dipinti e sculture.

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Juan Manuel Echavarria. Mouths of Ash. Bocas de Ceniza

Edizioni Charta

North Dakota, Museum of Art, August 13 - October 16, 2005.
North Dakota, Museum of Art, 13 agosto - 16 ottobre 2005.
English and Spanish Text.
Milano, 2005; paperback, pp. 175, b/w and col. ill., cm 17x24.

ISBN: 88-8158-563-4 - EAN13: 9788881585632

Subject: Collections,Essays (Art or Architecture),Painting,Photography,Sculpture

Period: 1960- Contemporary Period

Places: No Place

Extra: New Media

Languages:  english, spanish text   english, spanish text  

Weight: 0.59 kg


"I was drowning in words." With that, Juan Manuel Echavarría walked away from thirty years as a writer of serious fiction. A year later he stumbled into his new work. One ordinary day while driving through Bogotá, Echavarría noticed that sidewalk sellers were displaying their wares on old battered mannequins. Riffling through the clothing, the shoppers paid no heed. For a brief moment, the mannequins took on a different life for Echavarría. They became the raped and pillaged citizens of Colombia, the rural peasants suffering massacre after massacre, displaced, turned into refugees by the tens-of-thousands, or killed, their mutilated bodies tossed into a river or a mass grave.
The damaged lives of ordinary people wrought helpless, homeless, and violent by fifty years of civil war normally went unnoticed by privileged citizens of Bogotá, buffeted by wealth and security systems. The shoppers, themselves among the disposed, found the mannequins quite normal. Cast aside stand-ins for the human body opened Echavarría's eyes, and through the mediums of photography and video, he went on to create a visual requiem to Colombia, his own violent country.

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