Dossier Advento

Social Architecture: An a r t c a p a b l e o f w e a v i n g r e l a t i o n s between various social disciplines, a place where ‘the space, the artist and society can all articulate their own experience’ Raymundo Sesma

P E R M A N E N T

1 9 9 5

C O L L E C T I O N

-

2 0 0 1

INTRODUCTION

2 3

ADVENTO ACTIVITIES

4

EXHIBITION

5

INTERVIEW

6 7 8 9

TECALI

TALAVERA AUTHORS

ONYX AND MARBLE WORKS

10

TALAVERA WORKS

11

SPECIAL PROJECTS

12 13

ADVISERS

INSTITUTIONS

14 SPONSORS 14 CREDITS

INDEX

1

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 areas of 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.

INTRODUCTION

Advento A.C. is a civil association of philanthropic

Advento A.C. is a project conceived and headed by Raymundo Sesma, multidisciplinary artist who lives and works in the cities of Milan and Mexico City since 1980. It consists mainly as a creative act. Its primary objective is to develop a superior level of civilization, given that the common goal of all artistic activity is societal building. Tecali, “House of Stone” (of the nahuatl “tetl” stone and “calli” house) entails the collective edification of a place, a house and a city in which all work should contribute to the union of artist and craftsmen. The project tries to establish an infrastructure that benefits the local and regional economy, that allows the cultural and social development of the people of Tecali as well as of those who wish to help the project. It also proposes to enrich, protect and distribute the artistic and craftmen’s work in Tecali, and convert it into a place where the many ideologies and cultures of the world can live together.

ADVENTO

Advento

1st. Festival of Art & Culture Tecali, Puebla, Mexico

Onix & marble Crafts Competition Tecali, Puebla, Mexico

Contemporary Art Exhibition

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Concert ‘3D Sound’

Ex-convent . Tecali, Puebla, Mexico

Exhibition by Yolanda Gutierrez

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

1996 Hands & Art

Pavillion of Contemporary Art . Tecali, Puebla, Mexico Universidad de las Americas . Puebla, Mexico Palacio de la Cultura . Tlaxcala, Mexico

2nd. Festival of Art & Culture Tecali, Puebla, Mexico

Cuba, El lugar en que nacimos

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Septiembre, Photograph Exhibition

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Giuliana Traverso, El circuito del color

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Kalevala Assamble

Gregorio de Gante Theatre . Tecali, Puebla, Mexico

Silent archeology

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Tecali, house of stone

Universidad Benemérita Autónoma de Puebla . Puebla, Mexico

ACTIVITIES

1995

Ambra Polidori, Elegias

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Gilberto Chén, Al filo de la navaja

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Exhibition by George Woodman

Universidad Benemérita Autónoma de Puebla . Puebla, Mexico

International Congress of Design

National Center of the Arts . Mexico City, Mexico Principal Theatre . Puebla, Mexico

House of Stone

Mexican Gallery of Design . Mexico City, Mexico

Sanar

Ex-hospital . Tecali, Puebla, Mexico

1999 Italian Design: Compasso d’oro, Pinifarina and Interior Fundación Cultural Bancomer . Mexico City, Mexico

Anna Castelli Ferrieri

Museo Amparo . Puebla, Mexico

Compasso d’oro

University Museum of Puebla . Puebla, Mexico

Arte-facto

Ûbersee-Museo . Bremen, Germany Bûrgerhalle im Rathaus . Bremen, Germany

2000 International Biennal Design Saint Ettiene, France

Premio Internazionale Humanware Milan, Italy

2001 Conferences: Alessandro Mendini & Jesús Moctezuma Museo Tamayo . Mexico City, Mexico Universidad Cuauhtémoc . Puebla, Mexico

ACTIVITIES

1997

Travelling exhibition curated by: Raymundo Sesma Paula Bello Alejandro Rivera

Contents Onyx & marble works: 48 Talavera works: 29 Special Projects: 13 Authors Number: 47 Photographs Angela Arziniaga Elizabeth Castro Everardo Rivera Sergio González 20 photographs: 20 X 20 cm. 20 photographs: 40 X 40 cm. Data cards Each piece comes with its own data card Museography: A print of 3 X 5 m with aphorisms by Eligio Calderón Rest of museography provided by the host institution Transportation Total weight of the exhibition: 750 kg. Total volume of the exhibition: 15 m3 Number of boxes: 13 Insurance Total coverage: $118 940.00

(One hundred eighteen thousand nine hundred and forty US Dollars 00/100)

Supplement Contemporary Art Exhibition Curated by Jaime Contreras

EXHIBITION

ADVENTO, A.C. PERMANENT COLLECTION 1995-2001

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 the future. Advento’s aim is for today’s development to be continued tomorrow. When was the idea of Advento born? It was born when I was 23 years old, due to a casual visit to Tecali, Puebla when I realized that this was the last social vestige of a Franciscan urban utopia. lts urbanization which dates from the 16th century has hardly changed up to the present day, perhaps about 20%. The majority of the inhabitants of Tecali have been onyx and marble craftsmen since the arrival of the Spaniards. Architecturally speaking ¡t has a magnificent 16th century ex-convent, with two water deposits dating from that era which are wonderful examples of Franciscan engineering. There is also a theatre dating from the 18th century. Using the idea that we should build on what has been achieved through the centuries, I realized that not only in Tecal¡ but in many parts of Mexico one of our great problems, not only culturally, artistically and economically speaking, is that we have not taken full advantage of the natural conditions offered to us by crafts in Mexico and this has given rise to a situation of great poverty and ignorance. It was then that I decided to found this project, not only in order to develop an idea in relation to art but also to actively participate in a committed way in a collective project. We need craftsmen as much as they need us and not only from an artistic 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 is why its symbol is the house where the arts and possibilities for action converge. Actions from inside to outside and viceversa. In Advento, society is not excluded, but integrated into the ongoing process of development of actions and the work of art as a vital part of what we are. Advento’s ¡con was designed by an Italian, Alberto Lucía, a friend and a brilliant man, now unfortunately deceased. When you talk about Advento you mention a “Social Architecture”. How does this concept emerge? “Social Architecture” is an art form in search of a space outside of a closed system (such as museums and galleries which are

INTERVIEW

lnterview with Raymundo Sesma

With the time of nature and life, art is once again positioned in a space-time dichotomy, that fourth dimension which opens the 21st century. Thus “Social Architecture” does not intend to create only a work of art, but ah architecture that is composed of the space in itself. The work of art is therefore manifest through its actions and documentation, whether this takes the form of writing, photographs, videos, etc. “Social Architecture” not as utopia but as eutopia (the place), a place from which one constructs and experiments. A place or several places as observatories of reality, both artistic and social as well as historical. A place which testifies in the same way as art does: an idea which helps to solve specific problems about reality: about a way to interpret eutopia, in the sense of agatopia (to aspire towards the best possible rather than towards an unattainable perfection), with respect to relationships, environment and social conditions. “Social Architecture” understood as an experience, as recognition of our individuality as human beings endowed with a conscience and talents and with that consciousness through which man becomes aware of his own identity . What can you tell me about tradition in relation to “ Social Architecture”? “Social Architecture” does not propose to rescue the past and tradition understood as involution, but perceives tradition as wealth, as evolution, as something alive and capable of being transformed. What does the concept of construction obey? The concept of construction obeys the idea of reinforcing a central image in relation to the planned intended content which can only be perceived in coincidence with the receptor (facilitator) in his intellectual and cultural capacity. For example according to Foucault one of the functions of thought is to question the origin of things, with the aim of establishing its foundations “recovering- as he himself expressed it- the way in which the possibility of time, that origin without beginning from which all things can be born, is constituted”.

INTERVIEW

of secondary importance in Advento) where new relations between man and art can exist. This experience will be defined by reflection opening upon itself in time. lt is as if the moment the work of art becomes “space itself” the artist and society can join their experiences together. The most important element in the concept of social architecture are the actions for example, the action of bringing artists and designers together with craftsmen; the action performed by the craftsman when he works on a piece; the actions involved in carrying out a project for an exhibition, etc. That is to say my work as an artist, independently of the means, is to construct an idea that has enough force to become self-generating: through ¡t I become the speaker, the organizer, the installer, etc.

Going back to the project’s 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 developed through actions and communications with people and institutions, our main objective is to reach a superior level of civilization. The goal of all artistic activity is the construction of social awareness. Following this line of thought Tecali, «house of stone» (from the Nahuatl teti, stone and callí, house) means, finally, the building of place: a house and a city built collectively in which the union of the artist and the designer with the craftsman must be strengthened through all their activities. Given that Advento wants to establish a formative way of thinking with social, cultural and economic consequences, on the foundations where two cultures, the indigenous and the European mix, we plan to build a new community order based on common awareness, with a principle of learning in which art is converted into language, the tool through which society is raised and transformed. To achieve all this, an infrastructure is necessary, isn’t that so? Yes, Advento needs to establish an infrastructure which directly benefits the local and regional economy through various institutions and enterprises. In this case ¡t is Tecal¡ (in the future perhaps ¡t will be a different place). ¡t must allow for the social and cultural development of the inhabitants of this region of Puebla, as well as that of other Mexicans and foreigners who wish to collaborate with the project while at the same time benefiting 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, investigators from different areas, artists and students from Mexico and abroad to visit Tecali in order to enrich, protect and promote both the place itself and the artistic activities that take place there, thus converting ¡t into a special place where ideologies and cultural tendencies from all over the world can coexist: searching to promote a multidisciplinary approach as an expression of our times, with the philosophy that what matters is not the medium, but the sense that the artist, the designer or the craftsman can express through ¡t. A place where traditions are recovered and where art and popular costumes are nurtured close both to the historical roots of our culture and to the contemporary tendencies of the present day.

INTERVIEW

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

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 in a global village, not in the sense of the destruction of history and culture in favor of uniformity, but rather in the sense of totality, cultural wealth and constant communication with ourselves, others and the world. ¡t believes in an environment made by mankind for mankind, in the knowledge of our individuality as human beings and in full consciousness of our own identity. The historical moment which we are living requires a new vision, an attitude that will allow us, starting from our own particular reality, to implement current interpretative categories with universal meanings. A work of art is not only the result of personal but also of the collective experience. Therefore Advento encourages the dynamic participation of society both in its own events and in the possible solutions to the problems that determine ¡t. Finally Advento attempts to preserve the best and create, influence and modify -with the desire to construct- ideas and modes of thought applied to different levels of social, ethical and cultural actions.

INTERVIEW

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

by Eduardo Merlo Originally it was founded by groups of toltec origin, as the totomihuaque and cuauhtincantiaca were. This happened during the 12th century. In the begining it was only a small part of the religious-political center of Cuauhtinchan, located a few kilometers away. The invasion by the chichimecans profoundly changed the organization of the (señorios) of the region. As a result of this the town of Tepeyacac (Tepeaca) surfaced. Tecali became a subject of it, since the old center floundered. The conquests of the mexica-tenochca, headed by the valiant Axayacatl, reduced Tepeyacac’s stature and forced it to pay a heavy tribute. Tecali then had to increase it’s forced tribute to Tepeyacac, specially in the amount of tecali stone. By this time the town has the name of Tecalco: “The place with the houses of stone”. Although this could also mean that the inhabitants of the town were “tecaleque”, people who had the right to own land. With the arrival of the spanish conquerors, it was captain Gonzalo de Sandoval who had the task of conquering and pacifying the region. With the organization that the Spanish Crown made up to for the conquered towns, Tecali was still a subject of Tepeaca in both political and religious terms. Fortunately for the town, it was made a town of the Crown which meant that it was except from the tribute to the crown. Promptly the townspeople took advantage of the (vetas) of onix for hispanic construction and introduced the (cria) of small cattle: bovine and sheep.

TECALI

Tecali, a short commentary on its history

by Eduardo Merlo Emperor Carlos V confirmed the petition of the franciscan monks that Puebla be put under the protection of all the angels. These celestial beings, obedient to these mandates and requests installed themselves comfortably in every available space. Probably the closest thing to the nature of these beings was the mayolica, 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, our “eight wonder”. From here that the title of the city only become correct when a representative adition is made: “Puebla of the Angels of Talavera”. This exquisite fine ceramic is clearly not from Puebla, its not even talaveran in origin. It was in Ur of Chaldea, in Babylon, in the celebrated Persépolises, where it was first elaborated, pieces of glazed clay and polychromium-plating decorating palaces and temples It was until many centuries later that the muslims distributed the technique everywhere – the arab dominance of most the the Mediterranean extended them to sultanates and caliphates, specially in the beautiful Andalucia. The noble art of transforming ceramics, clays and kaolins into the most incredible pieces of art had its apogee in the area of Toledo, but most importantl in the town called Talavera. Later, due to the royal protection placed upon it by Her Majesty, Doña Isabel the Catholic, it would be called: “of the Queen”. Talavera of the Queen became the pride of the reunited christian Spain. The ceramic workshop’s retained the arab name of alfares: “al” refering to “Allah” and “fare” that means “the work”, in other words “the work of Allah”. The marvelous and divine work of 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 upon a pleasant surprise. Originaly believed to be moor, it turns out to actually be a mix of visigoth and latin: “tala” is the root of craft, cut, etc. And “vera” means “true”. This means “where real crafts are made”. In Spain this type of ceramic is known as “mayolica”, because it is said that it began in Mallorca, an island of the Baleares. Soon after the spanish conquered Mexico, the city of Puebla of the 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 this was that of the alfares, the old “work of Allah” now guided by christianity to the greater glory of God. Puebla, ever since the 1540’s, had it’s altar that took advantage of the marvelous clay of the mount of Loreto and the ceramics of Totimehuacan to create and recreate the unmatched pieces of “Talavera”, as it has always been called. Ever since its beginnings it’s tried to be “counter” to the toledan one. A local flavor was added, so to differentiate it from the iberic one.

TALAVERA

The story of Talavera

Great examples are the walls of Santo Domingo, of Belen and of Carmen. All these domes are decorated in colors according to the clothing of the patron saint. And the facade like those of the House of Raboso or the Muñecos, which represent many miths of southeast asia; this was due to the fact that in Puebla there was great trade and influence with China, Indochina and the 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 to the modern. A great deal of the greatness of old was lost due to ignorance and speculation. Fortunately, the technique, the secrets and the wonders of the “Talavera poblana” were passed from generation to generation of craftsmen, “workers of Allah”, that kept the tradition intact, just adding the logical, natural and necesary wisdom of each age. It’s worth mentioning that for an extremely long time, imagination seemed to disappear from the craftmen’s work, practically from the moment in which the traditionalist painters, like Arrieta, copied in their “still lives” the beautiful pieces of Talavera. Without explanation, there came an age of plain and simple imitation of the older forms and decorations. Sometimes barely enriched with mexican and traditionalist landscape, inspired by the artists of the 1920’s and 1930’s. Other than that, there has been absolutely no innovation or contribution, its like this century has passed unseen.

TALAVERA

While the 16th century was full of beautifully carved stone, the 17th century made use of the Talavera to such a degree that soon the many domes, starting with the Cathedral’s, were resplandecent in their tiles coverings. Later, walls and floors were combined with the brick and stone to create the poblano barroque, which was complemented with a “visual dessert” from the plaster shop.

AUTHORS

Adán Paredes Alberto Kalash Alejandro Ramírez Lozano Alessandro Mendini Ana Rita García Lascurain Anali Segal Angel Ríos Aracely Vázquez Contreras Betty Woodman Carlos Blanco Carlos Luna Carlos Villanueva Claude Bouchard George Woodman Gerardo Zarr Germán Montalvo Gustavo Pérez Ilona Tôrmikoski Ivonne Domenge Jan Hendrix Javier Bravo Ferreira Jesús Moctezuma Jose Meza Julián Villaseñor Karin Waisman Kazumasa Nagai Keizo Matsui Luca Bray Luis López Loza M. Portella M. Suro María Luisa Dieppa Massimo Zucchi Miguel Castro Leñero Octavio García Rubio Pablo Kunst Paula Bello Raymundo Sesma Regazzoni Ricardo de Pirro Rita Galle Roberto Turnbull Sara Potter Selene Lazcarro Sergio Sotelo Silvino López Tovar Teemu Oksanen

Artesanías Finas Arturo Velasco Mota Candido Morales Flores Concepción Contreras Familia Meza Gustavo Pérez Héctor López Mármoles Soto Márquez Rogelio Meza Hernández Taller Talavera Santa Fe Téllez Hermanos Uriarte Talavera Valente Sánchez Cerezo

WORKSHOPS

Angel Mario Téllez

ONYX & MARBLE Adan Paredes Untitled 2000 H 71 cm., D 15 cm., W 5.590 kg. H 61 cm., D 15 cm., W 5.310 kg. H 50 cm., D 15 cm., W 4.560 kg. $ 900.00 USCY

ONYX & MARBLE Alejandro Ramirez Untitled 2001 H 12 cm. D 31 cm. We 5.140 kg. $ 300.00 USCY

ONYX & MARBLE Alejandro Ramirez Untitled 2001 H 8.5 cm. W 32.5 cm. L 20.5 cm. We 2.80 kg. $ 150.00 USCY

ONYX & MARBLE Anali Segal Untitled 2001 H 50 cm. W 5 cm. L 7 cm. We 3.460 kg. $ 300.00 USCY

ONYX & MARBLE Carlos Blanco Untitled 2001 H 6 cm. D 39 cm. We 9.470 kg. $ 500.00 USCY

ONYX & MARBLE Claude Bouchard Untitled 2000 H 10 cm. W 26cm. L 34.5cm. We 3.240 kg. $ 500.00 USCY

ONYX & MARBLE Claude Bouchard Untitled 2000 H 5 cm. W 30cm. L 30 cm. We 3.740 kg. $ 400.00 USCY

ONYX & MARBLE German Montalvo Untitled 1997 H 2.5 cm. D 30 cm. We 1.410 kg. $ 300.00 USCY

ONYX & MARBLE German Montalvo Untitled 1997 H 3 cm. D 30 cm. We 1.420 kg. $ 300.00 USCY

ONYX & MARBLE Gustavo Pérez Untitled 2001 H 40 cm. D 15 cm. We 6.050 kg. $ 400.00 USCY

ONYX & MARBLE Ilona Törmikoski Pyramides 2001 Three pieces: H 2 cm. W 15 cm. L 15 cm. We (total) 2.610 kg. $ 120.00 USCY

ONYX & MARBLE Ilona Törmikoski Wavy wall 2001 Four pieces: H 4 cm. W 15 cm. L 15 cm. We (total) 6.380 kg. $ 150.00 USCY

ONYX & MARBLE Ilona Törmikoski Hoyos de luna 2001 Three pieces: H 2 cm. W 15 cm. L 15 cm. We (total) 2.770 kg. $ 120.00 USCY

ONYX & MARBLE Ivonne Domenge Untitled 1997 H 17 cm. W 35 cm. L 44 cm. We 6.200 kg. $ 1000.00 USCY

ONYX & MARBLE Javier Bravo Ferreira Untitled 2001 H 11.5 cm. D 27.5 cm. We 6.320 kg. $ 250.00 USCY

ONYX & MARBLE Javier Bravo Ferreira Untitled 2001 H 27 cm. D 15 cm. We 3.320 kg. $ 100.00 USCY

ONYX & MARBLE Jesus Moctezuma Untitled 2001 H 26.5 cm. D 33.5 cm. We 2.760 kg. $ 600.00 USCY

ONYX & MARBLE Jesus Moctezuma Untitled 2001 H 44.5 cm. D 35 cm. We 17.450 kg. $ 800.00 USCY

ONYX & MARBLE Jesus Moctezuma Untitled 2001 H 23.5 cm. W 19 cm. L 19 cm. We 8.300 kg. $ 500.00 USCY

ONYX & MARBLE José Meza Untitled 2001 H 12.5 cm. W 18 cm. L 32.5 cm. We 2.600 kg. $ 100.00 USCY

ONYX & MARBLE Julian Villaseñor Untitled 1997 H 13 cm. D 20 cm. We 2.650 kg. $ 150.00 USCY

ONYX & MARBLE Julian Villaseñor Untitled 1999 H 12.5 cm. W 20 cm. L 20 cm. We 7.100 kg. $ 150.00 USCY

ONYX & MARBLE María Luisa Dieppa Untitled 1998 H 41.5 cm. D 33.5 cm. We 12.620 kg. $ 2000.00 USCY

ONYX & MARBLE Massimo Zucchi Untitled 2000 H 30 cm. W 16.5 cm. L 25 cm. We 15.100 kg. $ 700.00 USCY

ONYX & MARBLE Massimo Zucchi Untitled 1996-97 H 59 cm. D 26.5 cm. We 16.100 kg. $ 2000.00 USCY

ONYX & MARBLE Nestor Perkal Untitled 2001 H 39 cm. D 11 cm. We 6.390 kg. $ 400.00 USCY

ONYX & MARBLE Nestor Perkal Untitled 2001 H 17 cm. W 16 cm. L 31 cm. We 8.010 kg. $ 400.00 USCY

ONYX & MARBLE Octavio García Rubio Untitled 2001 H 11.5 cm. W 11 cm. L 35 cm. We 2.770 kg. $ 300.00 USCY

ONYX & MARBLE Pablo Kunst Untitled 1999 H 4.5 cm. D 50 cm. We 7.090 kg. $ 600.00 USCY

ONYX & MARBLE Pablo Kunst Untitled 1999 H 4.5 cm. D 50 cm. We 7.590 kg. $ 600.00 USCY

ONYX & MARBLE Pablo Kunst Untitled 1999 H 4.5 cm. D 50 cm. We 7.100 kg. $ 600.00 USCY

ONYX & MARBLE Paula Bello Tetris 2001 H 128 cm. W 56 cm. We 10.400 kg. $ 1000.00 USCY

ONYX & MARBLE Paula Bello Bola 1997 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

ONYX & MARBLE Raymundo Sesma Untitled 1998 H 52 cm. D 14.5 cm. We 4.920 kg. $ 800.00 USCY

ONYX & MARBLE Raymundo Sesma Untitled 1997 H 4 cm. W 44 cm. L 63 cm. We 11.270 kg. $ 700.00 USCY

ONYX & MARBLE Raymundo Sesma Untitled 1997 H 3.8 cm. W 38.5 cm. L 60 cm. We 6.890 kg. $ 700.00 USCY

ONYX & MARBLE Raymundo Sesma Untitled 1997 H 2.5 cm. W 32 cm. L 38.5 cm. We 1.840 kg. $ 300.00 USCY

ONYX & MARBLE Raymundo Sesma Untitled 1997 H 2.5 cm. W 32 cm. L 38.5 cm. We 1.840 kg. $ 300.00 USCY

ONYX & MARBLE Raymundo Sesma Untitled 1997 H 57 cm. W 19 cm. L 45 cm. We 4.530 kg. $ 1500.00 USCY

ONYX & MARBLE Raymundo Sesma Untitled 1999 H 11, W 20, L H 11, D H 10, D H 5.5, W 14, L H 9.5, D

34.5 19.5 12.5 18.5 10.5

cm. cm. cm. cm. cm.

$ 1500.00 USCY

ONYX & MARBLE Ricardo de Pirro Brick 1998 H 10.5 cm. W 11 cm. L 24 cm. We 5.920 kg. $ 50.00 USCY

ONYX & MARBLE Rita Galle Untitled 1998 H 27 cm. D 15.5 cm. We 5.470 kg. $ 500.00 USCY

ONYX & MARBLE Rita Galle Untitled 1997 H 2 cm. W 20 cm. L 30 cm. We 1.100 kg. $ 200.00 USCY

ONYX & MARBLE Rita Galle Untitled 1997 H 2.5 cm. D 21 cm. We 0.460 kg. $ 150.00 USCY

ONYX & MARBLE Sergio Sotelo Untitled 1998 H 28.5 cm. W 34.5 cm. L 34.5 cm. We 6.700 kg. $ 600.00 USCY

ONYX & MARBLE Sergio Sotelo Untitled 1999 H 55 cm. W 25 cm. L 25 cm. W 57.300 kg. $ 2000.00 USCY

ONYX & MARBLE Sergio Sotelo Untitled 1999 H 58 cm. D 24.5 cm. We 49.800 kg. $ 2000.00 USCY

ONYX & MARBLE Silvino López Tovar Untitled 2001 H 20 cm. D 20 cm. We 2.050 kg. $ 250.00 USCY

TALAVERA Angel Ricardo Ricardo Ríos Untitled 1996 H 5.5 cm. D 41 cm. We 2.000 kg. $ 700.00 USCY

TALAVERA Betty Woodman Untitled 1996 W 27 cm. L 69.5 cm. We 2.100 kg. $ 1500.00 USCY

TALAVERA Betty Woodman Untitled 1996 W 26 cm. L 71 cm. We 2.140 kg. $ 1500.00 USCY

TALAVERA Betty Woodman Untitled 1996 W 33.5 cm. L 72 cm. We 2.300 kg. $ 1500.00 USCY

TALAVERA Betty Woodman Untitled 1996 H 34 cm. W 22 cm. L 35 cm. We 5.400 kg. $ 2000.00 USCY

TALAVERA Carlos Luna Untitled 1997 H 64.5 cm. D 36 cm. We 10.100 kg. $ 2000.00 USCY

TALAVERA Carlos Villanueva Untitled 2000 11 pieces $ 1000.00 USCY

TALAVERA George Woodman Untitled 1999 Each piece W 12 cm. L 12 cm. We 10.900 kg. 28 pieces / $ 1000.00 USCY

TALAVERA Gerardo Zarr Untitled 1999 H 102 cm. D 22 cm. We 12.700 kg. $ 1000.00 USCY

TALAVERA Gerardo Zarr Untitled 1999 H 96.5 cm. D 20.5 cm. We 7.400 kg. $ 1000.00 USCY

TALAVERA Gerardo Zarr Untitled 1999 H 53 cm. D 24 cm. We 5.400 kg. $ 1000.00 USCY

TALAVERA German Montalvo Untitled 1997 H 5.5 cm. D 41 cm. We 1.800 kg. $ 700.00 USCY

TALAVERA Gustavo Pérez Untitled 2000 H 20 cm. W 7 cm. L 20 cm. We 1.800 kg. $ 700.00 USCY

TALAVERA Jan Hendrix Untitled 2000 H 81.5 cm. D 48 cm. We 20.000 kg. $ 3000.00 USCY

TALAVERA Kazumasa Nagai Untitled 1997 D 41 cm. We 1.880 kg. $ 700.00 USCY

TALAVERA Keizo Matsui Untitled 1997 D 41 cm. We 1.880 kg. $ 700.00 USCY

TALAVERA Luis Lopez Loza Untitled 1999 H 86.5 cm. D 50 cm. We 20.300 kg. $ 5000.00 USCY

TALAVERA M. Suro Untitled 1998 H 62 cm. D 35.5 cm. We 9.600 kg. $ 3000.00 USCY

TALAVERA M. Portella Untitled 2000 H 7 cm. W 61 cm. L 61 cm. We 6.200 kg. $ 1500.00 USCY

TALAVERA Miguel Castro Leñero Untitled 1997 H 81.5 cm. D 48 cm. We 19.700 kg. $ 3000.00 USCY

TALAVERA Miguel Castro Leñero Untitled 1997 H 6 cm. W 61.5 cm. L 61.5 cm. We 5.800 kg. $ 1500.00 USCY

TALAVERA Ragazzoni Untitled 1999 H 100 cm. D 30 cm. We15.900 kg. $ 4000.00 USCY

TALAVERA Raymundo Sesma Untitled 1996-97 H 20.5 cm. W 7.5 cm. L 17 cm. We 0.860 kg. $ 1000.00 USCY

TALAVERA Raymundo Sesma Untitled 1996-97 H 27 cm. W 17 cm. L 35 cm. We 2.860 kg. $ 1200.00 USCY

TALAVERA Raymundo Sesma Untitled 1996-97 H 33cm. W 15cm. L 23cm. We 1.720 kg. $ 1000.00 USCY

TALAVERA Raymundo Sesma Untitled 1996-97 H 30.5 cm. W 17 cm. L 35 cm. We 2.860 kg. $ 1200.00 USCY

TALAVERA Raymundo Sesma Untitled 1996-97 H 28 cm. W 18.5 cm. L 34.5 cm. We 2.800 kg. $ 1200.00 USCY

TALAVERA Raymundo Sesma Untitled 2000 21 pieces $ 3000.00 USCY

TALAVERA Roberto Turnbull Untitled 1999 H 82 cm. D 48 cm. We 21.700 kg. $ 3500.00 USCY

TALAVERA Sara Potter Untitled 2000 H 13 cm. D 43 cm. We 3.300 kg. $ 800.00 USCY

SPECIAL PROJECTS Alessandro Mendini Jesús Moctezuma Art & Design Mueseum Tecali 2001 Project $ 1000.00 USCY

SPECIAL PROJECTS Ana Rita Lascurain Thermals of Tecali Tecali 1997 Scale Model $ 1000.00 USCY

SPECIAL PROJECTS Ana Rita García Lascurain Thermals of Tecali Tecali 1997 14 Drawings Watercolor, ink, pencil, pastel, pigments, colored pencils & gouache over cotton paper 14 drawings / $ 21000.00 USCY

SPECIAL PROJECTS Paula Bello & Teemu Oksanen Cementery Tecali 2001 Project $ 1000.00 USCY

SPECIAL PROJECTS Raymundo Sesma Water tower Tecali 2000 Scale Model $ 1000.00 USCY

SPECIAL PROJECTS Richard de Pirro School Tecali 1998 Scale Model $ 1000.00 USCY

SPECIAL PROJECTS Richard de Pirro Hotel Tecali 1998 Scale Model $ 1000.00 USCY

SPECIAL PROJECTS Richard de Pirro Pavillion of Contemporary Art Tecali 1998 Scale Model $ 1000.00 USCY

SPECIAL PROJECTS Selene Lazcarro Graphic image ‘Advento, A.C.’ Tecali 1999 Thesis $ 500.00 USCY

ADVISERS

Adalberto Palma Gómez . Alberto Kalash . Aldo Colonetti . Alejandro Ogarino R.E. . Alessandro Bonfanti . Alessandro Mendini . Alonso Mateo . Ammon Barzel . Ana Rita García Lascurain . Andrea Cancelatto . Andrea D’Castro . Angel Ricardo Ríos . Angela Arziniaga . Anna Steiner . Armando Glyka . Bety Woodman . Carlos Aguirre . Carlos Aranda . Carlos Carrera . Cecilia Martínez . Chiao Chin . Claudio Gonzáles . Diego Mora . Eduardo Merlo . Eduardo R. Langagne . Eduardo Terrazas . Elizabeth Castro . Enrique Jezik . Ercilia Gómez Maqueo Rojas . Ernesto Sesma . Eugenio López Alonso . Everardo Rivera . Ezequiel Farca . Flavio Lattuada . Franco Origoni . Galindo Carlos Blas . George Woodman . Gerardo Estrada . Gerardo Suter . Germán Montalvo . Gilberto Chen . Gilda Bojardi . Ginevra Savioli . Giorgio Upiglio . Giulio Castelli . Giuseppe Colangelo . Gualtiero Dazzi . Guido Tucci . Guillermo Gonzáles . Héctor Alvarez Santiago . Henry Harper . Ivonne Amor Pálix . Jaime Contreras . Jaime García Amaral . Jaime Nualart . Javier González . Javier de la Macorra . Jorge López de la Barrera . José Luis Martinez . Juan Leal Ruíz . Juan . José Díaz Infante . Juan Luis Díaz . Karin Waisman . Laura C. Gómez . Leoncio Salgado . Lilia Martínez . Lily Icassocer . Lourdes Monjes . Lucilla Meloni . Lucilla Zacca . Manuel García . Marco D’Luceti . Mario Bennedetti . Maru Rabadan . Massimo Zucchi . Miguel Angel Corona . Mónica Calderón . Nina Menocal . Omar Gasca . Oscar de León Montemayor . Oscar Reyes Retana . Osvaldo Sánchez . Osvaldo Testoni . Patricia Mendoza . Rafael Portugal . Ricardo Viera . Richard De Pirro . Rita Galle . Robert Punkenhofer . Rosa Ortega . Santiago Espinoza de los Monteros . Selene Lascarro . Serge Fouchereau . Sergio Contreras . Tamara Kitain . Tere González Guajardo . Yolanda Gutierrez Acosta

Secretaría de Relaciones Exteriores SRE . Instituto Nacional de Bellas Artes INBA . Instituto Nacional de Antropología 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 . Fundación Cultural José Pedro Correilla Da Silva, Lisboa Portugal . Studio Lattuada, Milan Italia . Edit Foto . Agencia Olimpya, Milan . Gráfica Uno, Milan . Instituto Europeo del Diseño . Revista Interni . Pininfarina . Periódico Síntesis . Uriarte Talavera . Fundación BBV Bancomer . Franco Origoni & Anna Steiner, Arq. Asociados . Cerámica Contemporánea « Noe Suro ‘, Guadalajara . Taller Mexicano de Gobelinos, Guadalajara .

OTTAGONO, trimestral de diseño industrial .

Universidad Nacional Autónoma de México UNAM . Universidad Autónoma Metropolitana UAM . Galería Nina Menocal . Bankers Trust Company . Galería Ivonne Amor Palix, Paris, Francia . Embajadas y Consulados de México en Europa . el Gobierno del Estado de la Brianza en Italia . Consulado General de México en Milán . Design Forum en Finlandia . Museé des Arts Décoratifs del Museo de Louvre . Museo Franz Mayer . Museo Tamayo . Revista DeDiseño . Epson de México . Technomoll de México . Américo Editores . Librerías Gandhi . Guía de Diseño Mexicana . Juntos Actuando por la Superación, A.C . Artesanos de Tecali

INSTITUTIONS

Gobierno del Estado de Puebla . Gobierno Municipal de Tecali .

Secretaría de Relaciones Exteriores SER Universidad Autónoma 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 Superación, A.C. Guía de Diseño Mexicana Revista de Diseño Epson de México Technomoll de México Laser Foto de Mexico

SPONSORS

Consejo Nacional para la Cultura y las Artes CONACULTA

Vice-president and Managing Director Ramón Sesma Curators . Design Mexico Paula Bello . Alejandro Ramirez Italy Massimo Zucchi . Aldo Colonneti . Franco Origoni . Anna Steinner . Amnom Barzel . Alessandro Mendini . Fulvia Mendini . Jesús Moctezuma France Robin Silver Delouvrier . Nestor Perkal . Claude Bouchard United States Henry Harper Curators . Contemporary Art Mexico Jaime Contreras . Nina Menocal Italy Gianni Romano . Lucilla Meloni . Paola Sega Serra Zanetti . Flavio Lattuaga . Fiorella Lalumia France Yvon Amor Palix United States Barbara Bloeminck Photography Ambra Polidori . Javier González . Evelardo Rivera . Gilberto Cheo Graphic Design German Montalvo . Ricardo Salas . Selene Lazcarro . Miguel Hirata . Tullia Bassani . Ricardo Lozano . Maria Fernanda Lhez Pigni Architecture Richard di Pirro . Ana Rita Lascurain Literature Eligio Calderón . Giuseppe Collangelo Difussion Laura Gómez Music Victor Rasgado

CREDITS

President Raymundo Sesma