Horacio zabala (16 Ergebnisse)

Paperback. Zustand: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Zustand: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Zustand: New. Idioma/Language: Español. *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.

blanda. Zustand: New. Zustand des Schutzumschlags: Nuevo.

blanda. Zustand: New. Zustand des Schutzumschlags: Nuevo.

Softcover/Paperback. Zustand: Very Good. Horacio Zabala.Evolucion, Involucion, Revolucion. Argentina: Horacio Zabala, 1974.Sheet.5 1/2" x 4 1/2".Spanish. Near fine.Minor soiling to back. An apparently hand-cut piece of a map of South America with a square drawn in pencil and pen. Inside the pen are the words "Evolucion, Involucion, Revolucion" as well as Horacio Zabala's signature and the date. A play on words and the political states of the countries featured on the map such as Argentina, Uruguay, etc. Evolution, Regression, or Revolution? What will come to pass? Horacio Zabala is an Argentine conceptual artist, who over the course of a long career, has primarily been concerned with built space, physical and conceptual boundaries, and their effect on society, artists, and the average person. "Horacio Zabala is a conceptual artist who lives in Buenos Aires, Argentina. Trained as an architect, he frequently incorporates into his work architectural plans or representations of the built environment evoked through language or signs. Zabala's interest in physical structures elicits an exploration of the very purpose and utility of artistic expression, while also gesturing outwards to the political situation in his native Argentina. Indeed, the earliest works in this show were created amidst a thriving backdrop of conceptualism and systems art, as well as of the socio-political context of political oppression, between the fall of one dictatorship and the beginning of another. Rodrigo Alonso suggests that the work points 'to the risk of complicity that architecture runs in the case of being placed at the service of an authoritarian system.' This makes Zabala's interest in the architecture of oppression or safetythe jail or the bomb shelterall the more poignant.Systems art has an important history in Argentina; it found institutional support from the influential Centro de Arte y Comunicación (CAyC) and its director, Jorge Glusberg, who was at the forefront of international trends in the visual arts in the late 1960s and 1970s. Glusberg was ever sensitive to the sociopolitical connotation of art created in an oppressive regime like that in Argentina at this time, writing: 'from the viewpoint of semiotics, art is an ideological discourse [.] By way of artistic acts, man can become aware of his social reality.' Zabala's work, which was shown in the seminal exhibitions of systems art at CAyC, shares with Glusberg an interest in the scientific method, semiology, and how art functions within a society. Later, Zabala reflected: 'In the field of the visual arts, relationships between things stimulate me far more than the things themselves. Accordingly, in my work with monochromes, signs, furniture and cartography, I attempt to force relationships, to point out analogies and to divert uses.' Herein perhaps lies the key to understanding his work. It makes us look at things known intimately with fresh eyes and ponder how they could be put to an alternative use. The most jarring of such analogies is the one seen emblazoned on so many works in the showArt is a Jaila statement he first arrived at in 1972. Zabala's hand is shown writing the phrase or stamping it with ink onto paper. This is quite shocking coming from a visual artist who has chosen this path. What does it mean for art to be a jail? On one level, it describes the confining limitations of art as an institution, but the proliferation of the motif in highly varied works begs a closer look.In 1973, Zabala had a solo show at CAyC entitled Anteproyectos (Draft Projects). For this he created numerous plans for prisons that became codified into typologiesprisons on a column, floating prisons, and underground prisonssuggesting that they can be anywhere and everywhere, and that they are not always where you might expect them. Also shown there was the installation Espacio Represivo (Repressive Space) from the same year. A domestic-scaled cage-like enclosure, it brings the prison to the scale of the body and into the space of the.…

Softcover/Paperback. Zustand: Very Good. Horacio Zabala.Tension = Force Area. Argentina: Horacio Zabala, 1974.Two photocopy sheets and a piece of a map on paper in portfolio.Spanish and English. Near fine, but for light wear to portfolio.A blank cream-colored portfolio that opens onto protective tissue paper signed in pen "For Carlo Giovanni Cicatelli Zabala '74."with Zabala's rubber-stamp as well. An offering by Zabala to a fellow artist.Laid into the tissue paper are four sheets. Two xeroxes of a map of South America with the equations "Area = Force Tension" & "Tension = Force Area" overlaid on their respective sheets. Then a blank sheet which protects a simple piece of a map snippet pasted onto a sheet depicting the Malvinas islands in reference to tensions between Argentina and Great Britain over ownership of the Malvinas or Falkland Islands.Carlo Giovanni Cicatelli is also known as Charles Chickadee who was a founding member of the Bay Area Dada group, a publisher, as well as a mail-art participant. Horacio Zabala is an Argentine conceptual artist, who over the course of a long career, has primarily been concerned with built space, physical and conceptual boundaries, and their effect on society, artists, and the average person. "Horacio Zabala is a conceptual artist who lives in Buenos Aires, Argentina. Trained as an architect, he frequently incorporates into his work architectural plans or representations of the built environment evoked through language or signs. Zabala's interest in physical structures elicits an exploration of the very purpose and utility of artistic expression, while also gesturing outwards to the political situation in his native Argentina. Indeed, the earliest works in this show were created amidst a thriving backdrop of conceptualism and systems art, as well as of the socio-political context of political oppression, between the fall of one dictatorship and the beginning of another. Rodrigo Alonso suggests that the work points 'to the risk of complicity that architecture runs in the case of being placed at the service of an authoritarian system.' This makes Zabala's interest in the architecture of oppression or safetythe jail or the bomb shelterall the more poignant.Systems art has an important history in Argentina; it found institutional support from the influential Centro de Arte y Comunicación (CAyC) and its director, Jorge Glusberg, who was at the forefront of international trends in the visual arts in the late 1960s and 1970s. Glusberg was ever sensitive to the sociopolitical connotation of art created in an oppressive regime like that in Argentina at this time, writing: 'from the viewpoint of semiotics, art is an ideological discourse [.] By way of artistic acts, man can become aware of his social reality.' Zabala's work, which was shown in the seminal exhibitions of systems art at CAyC, shares with Glusberg an interest in the scientific method, semiology, and how art functions within a society. Later, Zabala reflected: 'In the field of the visual arts, relationships between things stimulate me far more than the things themselves. Accordingly, in my work with monochromes, signs, furniture and cartography, I attempt to force relationships, to point out analogies and to divert uses.' Herein perhaps lies the key to understanding his work. It makes us look at things known intimately with fresh eyes and ponder how they could be put to an alternative use. The most jarring of such analogies is the one seen emblazoned on so many works in the showArt is a Jaila statement he first arrived at in 1972. Zabala's hand is shown writing the phrase or stamping it with ink onto paper. This is quite shocking coming from a visual artist who has chosen this path. What does it mean for art to be a jail? On one level, it describes the confining limitations of art as an institution, but the proliferation of the motif in highly varied works begs a closer look.In 1973, Zabala had a solo show at CAyC entitled Anteproyectos (Draft Projects). For this he cr.…

Softcover/Paperback. Zustand: Very Good. Horacio Zabala.Preliminary Plans for Latin American Jail Architecture Underground Cell for Artists drawing. Argentina: Horacio Zabala, 1974.Drawing pasted onto board.7 1/4" x 5 1/2".English. Near fine.Board has slight edge wear.Underlined "12" on board in blue pencil to left of pasted drawing. Border of drawing has white paint and blue pencil. Drawing is coming unglued on right side. A unique "Anteproyecto" drawing from 1974 signed and dated in pen as well as with Zabala's rubber stamp. The drawing depicts a cell large enough for a single artist with a chute to enter, a pipe to allow for oxygen and a chute below to whisk away urine and excrement. The "pasted" natured of this drawing as well as the 12 below leads me to believe this was featured in a publication or magazine, but I am unaware if this is actually the case. In 1973, Zabala had an exhibition at CaYC in Buenos Aires, Argentina titled Anteproyectos (draft plans) which featured drawings of this sort. The relationship between architecture and freedom and its' many implications remained a consistent theme in his art. Horacio Zabala is an Argentine conceptual artist, who over the course of a long career, has primarily been concerned with built space, physical and conceptual boundaries, and their effect on society, artists, and the average person. "Horacio Zabala is a conceptual artist who lives in Buenos Aires, Argentina. Trained as an architect, he frequently incorporates into his work architectural plans or representations of the built environment evoked through language or signs. Zabala's interest in physical structures elicits an exploration of the very purpose and utility of artistic expression, while also gesturing outwards to the political situation in his native Argentina. Indeed, the earliest works in this show were created amidst a thriving backdrop of conceptualism and systems art, as well as of the socio-political context of political oppression, between the fall of one dictatorship and the beginning of another. Rodrigo Alonso suggests that the work points 'to the risk of complicity that architecture runs in the case of being placed at the service of an authoritarian system.' This makes Zabala's interest in the architecture of oppression or safetythe jail or the bomb shelterall the more poignant.Systems art has an important history in Argentina; it found institutional support from the influential Centro de Arte y Comunicación (CAyC) and its director, Jorge Glusberg, who was at the forefront of international trends in the visual arts in the late 1960s and 1970s. Glusberg was ever sensitive to the sociopolitical connotation of art created in an oppressive regime like that in Argentina at this time, writing: 'from the viewpoint of semiotics, art is an ideological discourse [.] By way of artistic acts, man can become aware of his social reality.' Zabala's work, which was shown in the seminal exhibitions of systems art at CAyC, shares with Glusberg an interest in the scientific method, semiology, and how art functions within a society. Later, Zabala reflected: 'In the field of the visual arts, relationships between things stimulate me far more than the things themselves. Accordingly, in my work with monochromes, signs, furniture and cartography, I attempt to force relationships, to point out analogies and to divert uses.' Herein perhaps lies the key to understanding his work. It makes us look at things known intimately with fresh eyes and ponder how they could be put to an alternative use. The most jarring of such analogies is the one seen emblazoned on so many works in the showArt is a Jaila statement he first arrived at in 1972. Zabala's hand is shown writing the phrase or stamping it with ink onto paper. This is quite shocking coming from a visual artist who has chosen this path. What does it mean for art to be a jail? On one level, it describes the confining limitations of art as an institution, but the proliferation of the motif in highly varied works beg.…

Encuadernación de tapa blanda. Zustand: Como Nuevo. 1ª Edición. ZABALA HORACIO-VADEMECUM PARA ARTISTAS. Sin uso Observaciones sobre el Arte Contemporaneo Imaginativo y original, este nuevo libro del artista y arquitecto Horacio Zabala está integrado por observaciones sobre el arte contemporáneo, presentadas de una manera amena y sumamente creativa. Agrupadas en diversos ejes, las ideas y reflexiones que alguna vez han pronunciado pensadores, escritores y artistas de distintas épocas, disparan una serie de comentarios que Horacio Zabala presenta a modo de respuestas epistolares. Así, este libro, -resultado de diálogos imaginarios entablados con célebres personajes, desde Gacel Duchamp, James Joyce, Paul Valery, Gilles Deleuze, Georges Duby y Lao-Tze, hasta otros más cercanos espacial, temporal y geográficamente como Luis Felipe Noé o Belén Gaché invitada a participar de la presentación del libro, realizada en el Centro Cultural de España- resulta doblemente atractivo: como compendio de ideas en torno al arte y como síntesis de las lúcidas reflexiones que inspiraron a su autor. A propósito del libro señala Horacio Zabala: "La antigua locución latina vademecum (vade: viene, me cum: conmigo) sugiere tránsito e impermanencia. Decidí adoptar el término debido a su concordancia con los vaivenes del arte y las experiencias estéticas contemporáneas, esto es, con la discontinuidad de las obras y actitudes que aparecen, se interrumpen y reaparecen de otra manera. La primera página de este libro podría ser la última y viceversa: está ausente la oposición entre el comienzo y el fin. Mi intención no es inaugurar ni clausurar nada, sino enlazar textos de los 233 autores citados (antiguos, modernos y contemporáneos) con mis comentarios: un montaje cruzado de interrogantes, dudas y respuestas. Esta figura en zigzag vincula al artista con su obra, a la experiencia estética con la práctica artística, los contextos reales, imaginarios y simbólicos del arte."Z2. …

Zustand: Very good. Horacio Zabala, Ultima Exposicion de Arte por Correspondencia '75, Galeria Arte Nuevo, Buenos Aires, Argentina, 1975. 133 x 187 mm. Artist postcard. Recto involves screen printed purple design and information on the exhibit. Verso includes text on exhibit 'Last International Exhibition of Mail Art '75', including the name of Edgardo-Antonia Vigo (G. E. Marx Vigo) with underlined sentence (by Zabala ?) and signed 'best wishes, Zabala' (Horacia Zabala). Addressed to 'Kunstinformatie centrum' (Van Beveren's Art Information Centre), three different coloured postal stamps (purple, red and brown) of the Republic of Argentina, stamped 14th of July 1975 and rubber stamped in purple 19 July 1975 (the accession date into the Art Information Archive). Condition: recto has slight wear on the top right and bottom left corner and light soiling. Very good.…

Zustand: Fine. 1st Edition. 152 x 103 mm. Folded photocopy, signed and dated by the artist, numbered 3/50, mounted on green card. Published by Edition Lydia Franken-Koln. The design features a blueprint for a bomb. Condition: folded as issued, Fine.

Zustand: Very good +. 10 loose sheets, 1 piece of crumpled paper and 1 serviette. Assembling magazine edited by Joao Carlos Sampaio-Cati, including several important contibutors from South America.Edition of 300 unnumbered copies. Includes mail art contributions from: Joaquim Branco, Horacio Zabala, Clemente Padin and others. Includes some of the original envelopes in which the works were sent, some of the works have collage elements. Incomplete (missing two items we estimate) but a very rare artists periodical including handmade contributions. Rubber stamped envelope by Zabala 'CENSURADO' has blank sheet enclosed as issued, other mixed media contributions include letraset, rubber stamps handwritten elements and various printing techniques. A.L.M Andrade signed envelope has handrawn sheet inside that due to dampness at some point is stuck to envelope (text by Andrade in purple and green felt tip is just readable). Condition: some wear to paper, but overall VG+. …

Zustand: Very good +. Hacia un perfil del arte latinoamericano: muestra del grupo de los trece e invitados especiales organizada por Jorge Glusberg [Towards a Latin American Profile of Art: Exhibition of the group of the thirteen and special guests organised by Jorge Glusberg], CAyC, Buenos Aires, 20 June 1972. 232 x 172mm. 28 sheets printed black on white stock, in folio printed black on yellow. Unnumbered edition of 2000. Text in Spanish and English. Illustrated throughout. Published to coincide with the exhibition at CAyC, 26 June 3 July 1972. The 'group of the thirteen' includes Jacques Bedel, Luis Benedit, Gregorio Dujovny, Carlos Ginzburg, Victor Grippo, Jorge Gonzales Mir. Jorge Glusberg, Vicente Marotta, Luis Pazos, Alberto Pelligrino, Alfredo Portillos, Juan Carlos Romero, Julio Teich. The 'special guests' include Marcel Alocco, Juan Navarro Baldeweg, Juan Bercetche, Guillermo Deisler, Juan Downey, Ken Friedman, Jochen Gerz, Klaus Groh, Guerrilla Art Action Group, Dick Higgins, Richard Kostelanetz, Uzi Kotler, Auro Lecci, Oscar Maxera, Marie Orensanz, Osvaldo Romberg, Clorindo Testa, Enrique Torrojo, Horst Tress, Jiri Valoch and Horacio Zabala. Contains an essay on 'Art and Ideology' by Glusberg and illustrated profiles on each of the artists, as well as installation shots of the exhibition at the third Coltejer Biennal in Medellin, Columbia, in May-June 1972. Condition: no stamps or writing, light soiling to covers, some light toning to internal pages. Overall: Very good+. …

The rare catalogue for the "Last International Mail Art Exhibition", the first of its kind in Argentina. It was issued as a portfolio containing 13 individual works by artists including Diago Barboza, Clement Young, Ken Friedman, Hervé Fischer, and Julián Blaine. The exhibition, organized by artists Horacio Zabala and Edgardo Antonio Vigo, was held on 5 December 1975 at the Galería arte nuevo in Buenos Aires. It showcased work by 210 artists from 25 countries. Original brown card folder (285 x 250 mm), stamped and franked title label on front, containing 16 leaves loose as issued (between 88 x 138 and 271 x 244 mm). Faint toning to edges of envelope, slight foxing to label, contents fresh: fine.…

Zustand: Near Fine. 533 x 285mm Signed poster, screenprint black on newsprint, Other Books and So, Amsterdam, 1977. List of participating artists include : Edgardo Antonio-Vigo, Ben Vautier, Mario Perniola, Juan C Romero, G.J.de Rook, Clemente Padin, J.H.Kocman, Les Levine, Jonier Marin, Carlos Ginzburg, Jorge Glusberg, Jochen Gerz, Robert Filliou, Guillermo Deisler, Robin Crozier, Ricardo Cristobal, Ulises Carrion, G.A.Cavellini, Jorge Caraballo, Paulo Bruscky, Juliene Blaine, Luis Benedit et al. No edition Size given. Signed. Condition: minor toning to bottom edge, Near Fine.…

Editions Nepe, sans date [circa 1980]. 29 x 20,5 cm, non paginé, 8 ff. Plaquette agrafée en bel état. La collection Zerosscopiz 845 a été créée en 1979 et éditée jusqu?en 1989 par Julien Blaine, artiste et poète français et Angeline Neveu. Elle est composée au total de 28 numéros, dont le catalogue des 27 titres parus. Elle a été créée pour prouver que tout instrument de reproduction ou d?impression, du crayon à la mine de plomb aux nouveaux programmes d?informatique, pouvait être récupéré par les artistes et les poètes (ce que Julien Blaine nomme ?les poètartistes?) pour devenir un outil de création. Il n?y avait pas de thématique précise pour chaque numéro, mais des artistes et des poètes issus de la poésie concrète, de la poésie visuelle (Posera visiva en Italie, Visual poetry en Angleterre), de la poésie dite matérielle ou élémentaire (double sens), de la performance et du mail-art. Il s?agissait en particulier de poètes et d?artistes venus de tous les pays.…