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mariana castillo deball

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between you and the image of you that reaches me, 2010

installation view, ars viva 09/10 geschichte/history, kölnischer kunstverein, 2010

between you and the image of you that reaches me, 2010

installation view, ars viva 09/10 geschichte/history, kölnischer kunstverein, 2010

the stronger the light your shadow cuts deeper, 2009

papercutting

dimensions variable

tree trap oaxaca, 2013

paper squeeze, wool, cotton paper

dimensions variable

photograph of the making of tree trap, berlin 2012

what we caught we threw away, what we didn’t catch we kept, 2013

mixed media

dimensions variable

what we caught we threw away, what we didn’t catch we kept, 2013

mixed media

dimensions variable

you have time to show yourself before other eyes, 2014

installation view at 8 berlin biennale für zeitgenössische kunst, berlin, 2014

you have time to show yourself before other eyes, 2014

installation view at 8 berlin biennale für zeitgenössische kunst, berlin, 2014

hieroglyph storage, 2014

metal structure, 7 white plaster pieces

59.06 x 59.06 x 31.5 inches

estas ruinas que ves, 2006

installation view at museum of contemporary art carrillo gil, mexico city, mexico, 2006 

no solid form can contain you, 2010

modular fiberglass sculpture made from a cast of the original coatlicue statue

dimensions variable

no solid form can contain you, 2010

modular fiberglass sculpture made from a cast of the original coatlicue statue

dimensions variable

between you and the image of you that reaches me

installation view at the museum of latin american art, long beach, california, united states, 2010

no acabarán mis flores, 2013

five embroided chinelo costumes

performance, matadero madrid, 2013

nuremberg map of tenochtitlan, 2013

woodcut with a cnc router, costumes, embroideries, masks

590.5  x 374.01 inches

nuremberg map of tenochtitlan, 2013

woodcut with a cnc router

590.5  x 374.01 inches

vista de ojos, 2014

set of 130 pieces, 18 mm plywood plate incised with cnc router

46.46 x 46.46 inches each plate

vista de ojos, 2014

set of 130 pieces, 18 mm plywood plate incised with cnc router

46.46 x 46.46 inches each plate (detail)

vista de ojos, 2014

set of 130 pieces, 18 mm plywood plate incised with cnc router

46.46 x 46.46 inches each plate

untitled, 2014

laserchrome print mounted on dibond

70.87 x 106.3 inches

uncomfortable objects, 2012

metal structure, papier-mâché, laser prints and aluminum wire

78.74 x 39.37 x 19.69 inches

uncomfortable objects, 2012

metal structure, papier-mâché, laser prints and aluminum wire

78.74 x 39.37 x 19.69 inches

uncomfortable objects, 2012

plaster, pigments, stones, shells, masks, fabric, glass, wood, clay, diverse objects mounted on a steel frame

236.22 x 157.48 x 118.11 inches

uncomfortable objects, 2012

plaster, pigments, stones, shells, masks, fabric, glass, wood, clay, diverse objects mounted on a steel frame

236.22 x 157.48 x 118.11 inches

uncomfortable objects, 2012

plaster, pigments, stones, shells, masks, fabric, glass, wood, clay, diverse objects mounted on a steel frame

236.22 x 157.48 x 118.11 inches (detail)

tropic, why did you give me these hands so full of color? and nadie sabe qué hora es, 2011

site specic installation, papier mâché, aluminium wire, laser prints

dimensions variable

llke a hundred mirrors, i reflect your body, 2011

papier mâché, aluminium wire, laser prints, various sizes

118.1 x 112.2 x 51.2 inches

there are no spaces in words as people speak them, 2012

acrylic paint on wall

66.93 x 15.75 inches

mathematical distortions, 2012

plaster, pigments, rabbit glue, aluminum

dimensions variable

there are no spaces in words as people speak them, 2012

acrylic paint on wall

66.93 x 15.75 inches

mathematical distortions, 2012

plaster, pigments, rabbit glue, aluminum

dimensions variable

este desorden destruido, autoriza geológicas sorpresas a la memoria más abandonada, 2011

installation view museo experimental el eco, mexico city, 2011

este desorden destruido, autoriza geológicas sorpresas a la memoria más abandonada, 2011

installation view museo experimental el eco, mexico city, 2011

este desorden destruido, autoriza geológicas sorpresas a la memoria más abandonada, 2011

installation view museo experimental el eco, mexico city, 2011

where I am is vanishing, 2011

installation view of LLUMInations, 54th venice biennale, venice, italy, 2011

where I am is vanishing, 2011

installation view of LLUMInations, 54th venice biennale, venice, italy, 2011

 

parergon, 2014

installation view at hamburger bahnhof-museum für gegenwart- berlin, 2014

null problemo, 2014

reproduction of a wheelchair with inscription

image

between you and the image of you that reaches me, 2010

installation view, ars viva 09/10 geschichte/history, kölnischer kunstverein, 2010

image

between you and the image of you that reaches me, 2010

installation view, ars viva 09/10 geschichte/history, kölnischer kunstverein, 2010

image

the stronger the light your shadow cuts deeper, 2009

papercutting

dimensions variable

image

tree trap oaxaca, 2013

paper squeeze, wool, cotton paper

dimensions variable

image

photograph of the making of tree trap, berlin 2012

image

what we caught we threw away, what we didn’t catch we kept, 2013

mixed media

dimensions variable

image

what we caught we threw away, what we didn’t catch we kept, 2013

mixed media

dimensions variable

image

you have time to show yourself before other eyes, 2014

installation view at 8 berlin biennale für zeitgenössische kunst, berlin, 2014

image

you have time to show yourself before other eyes, 2014

installation view at 8 berlin biennale für zeitgenössische kunst, berlin, 2014

image

hieroglyph storage, 2014

metal structure, 7 white plaster pieces

59.06 x 59.06 x 31.5 inches

image

estas ruinas que ves, 2006

installation view at museum of contemporary art carrillo gil, mexico city, mexico, 2006 

image

no solid form can contain you, 2010

modular fiberglass sculpture made from a cast of the original coatlicue statue

dimensions variable

image

no solid form can contain you, 2010

modular fiberglass sculpture made from a cast of the original coatlicue statue

dimensions variable

image

between you and the image of you that reaches me

installation view at the museum of latin american art, long beach, california, united states, 2010

image

no acabarán mis flores, 2013

five embroided chinelo costumes

performance, matadero madrid, 2013

image

nuremberg map of tenochtitlan, 2013

woodcut with a cnc router, costumes, embroideries, masks

590.5  x 374.01 inches

image

nuremberg map of tenochtitlan, 2013

woodcut with a cnc router

590.5  x 374.01 inches

image

vista de ojos, 2014

set of 130 pieces, 18 mm plywood plate incised with cnc router

46.46 x 46.46 inches each plate

image

vista de ojos, 2014

set of 130 pieces, 18 mm plywood plate incised with cnc router

46.46 x 46.46 inches each plate (detail)

image

vista de ojos, 2014

set of 130 pieces, 18 mm plywood plate incised with cnc router

46.46 x 46.46 inches each plate

image

untitled, 2014

laserchrome print mounted on dibond

70.87 x 106.3 inches

image

uncomfortable objects, 2012

metal structure, papier-mâché, laser prints and aluminum wire

78.74 x 39.37 x 19.69 inches

image

uncomfortable objects, 2012

metal structure, papier-mâché, laser prints and aluminum wire

78.74 x 39.37 x 19.69 inches

image

uncomfortable objects, 2012

plaster, pigments, stones, shells, masks, fabric, glass, wood, clay, diverse objects mounted on a steel frame

236.22 x 157.48 x 118.11 inches

image

uncomfortable objects, 2012

plaster, pigments, stones, shells, masks, fabric, glass, wood, clay, diverse objects mounted on a steel frame

236.22 x 157.48 x 118.11 inches

image

uncomfortable objects, 2012

plaster, pigments, stones, shells, masks, fabric, glass, wood, clay, diverse objects mounted on a steel frame

236.22 x 157.48 x 118.11 inches (detail)

image

tropic, why did you give me these hands so full of color? and nadie sabe qué hora es, 2011

site specic installation, papier mâché, aluminium wire, laser prints

dimensions variable

image

llke a hundred mirrors, i reflect your body, 2011

papier mâché, aluminium wire, laser prints, various sizes

118.1 x 112.2 x 51.2 inches

image

there are no spaces in words as people speak them, 2012

acrylic paint on wall

66.93 x 15.75 inches

mathematical distortions, 2012

plaster, pigments, rabbit glue, aluminum

dimensions variable

image

there are no spaces in words as people speak them, 2012

acrylic paint on wall

66.93 x 15.75 inches

mathematical distortions, 2012

plaster, pigments, rabbit glue, aluminum

dimensions variable

image

este desorden destruido, autoriza geológicas sorpresas a la memoria más abandonada, 2011

installation view museo experimental el eco, mexico city, 2011

image

este desorden destruido, autoriza geológicas sorpresas a la memoria más abandonada, 2011

installation view museo experimental el eco, mexico city, 2011

image

este desorden destruido, autoriza geológicas sorpresas a la memoria más abandonada, 2011

installation view museo experimental el eco, mexico city, 2011

image

where I am is vanishing, 2011

installation view of LLUMInations, 54th venice biennale, venice, italy, 2011

image

where I am is vanishing, 2011

installation view of LLUMInations, 54th venice biennale, venice, italy, 2011

 

image

parergon, 2014

installation view at hamburger bahnhof-museum für gegenwart- berlin, 2014

image

null problemo, 2014

reproduction of a wheelchair with inscription

mariana castillo deball
* 1975, Mexico City

 

Mariana Castillo Deball takes a kaleidoscopic approach to her practice, mediating between science, archaeology, and the visual arts and exploring the way in which these disciplines describe the world. Her installations, performances, sculptures, and editorial projects arise from the recombination of different languages that seek to understand the role objects play in our identity and history. Her works result from a long research process, allowing her to study the different ways in which a historical object can be read as it presents a version of reality that informs and blends into a polyphonic panorama. Seeking to initiate a dialogue with institutions and museums beyond contemporary art, she collaborates with ethnographic collections, libraries, and historical archives. She often produces multiples —books or objects with different uses and formats— to explore how they might generate new territories. Weaving her way through the fields of anthropology, philosophy, and literature, Castillo Deball draws inspiration from a wide range of sources as she engages in the exchange of knowledge as a transforming process for everyone involved.


Mariana Castillo Deball earned a BFA from the Universidad Nacional Autónoma de México in 1997. In 2003, she completed a postgraduate program at Jan van Eyck Academie in the Netherlands. Deball has been awarded with the Prix de Rome (2004), Zurich Art Prize (2012), a fellowship at the Henry Moore Institute (2012), and the Preis der Nationalgalerie für junge Kunst (2013). She was an artist in residency at the Berliner Künstlerprogramm in Deutscher Akademischer Austauschdienst (DAAD) in 2011.


Her most important solo exhibitions include: To-Day, February 20th, Savannah College of Art and Design (SCAD) Museum of Art, United States (2018); Pleasures of association, and poissons, such as love, Galerie Wedding – Raum für zeitgenössische Kunst, Berlin (2017); Feathered Changes, Serpent Disappearances, Walter and McBean Galleries, San Francisco Art Institute, United States (2016); ¿Quién medirá el espacio, quién me dirá el momento? MACO Museo de Arte Contemporáneo de Oaxaca, Mexico (2015); Mariana Castillo Deball, Kunsthalle Lissabon, Lisbon, Portugal (2014); Mariana Castillo Deball, Parergon, Hamburger Bahnhof – Museum für Gegenwart, Berlin (2014); “What we caught we threw away, what we didn’t catch we kept”, CCA: Centre for Contemporary Arts, Glasgow, Scotland (2013); Zurich Art Prize: Uncomfortable Objects, Haus Konstruktiv, Zurich, Switzerland (2012); Este desorden construido, autoriza geológicas sorpresas a la memoria más abandonada, Museo Experimental El Eco, Mexico City (2011); Between You and the Image of You That Reaches Me, Museum of Latin American Art (MOLAA), Long Beach, United States (2010); Kaleidoscopic Eye, Kunst Halle Sankt Gallen, Switzerland (2009); Estas ruinas que ves, Museo de Arte Carrillo Gil, Mexico City (2006); Prix de Rome: Institute of Chance, Stedelijk Museum Amsterdam (2004); among others.


Additionally, her work has been included in group exhibitions such as: Hello World. Revision einer Sammlung, Hamburger Bahnhof – Museum für Gegenwart, Berlin (2018); Statues Also Die: Contemporary reflections on heritage and conflict in the Middle-East, Fondazione Sandretto Re Rebaudengo, Turin, Italy (2018); Lecturas de un territorio fracturado, Museo Amparo, Puebla, Mexico (2017); Alors que j'écoutais moi aussi David, Eleanor, Mariana, etc. La Criée centre d’art contemporain, Rennes, France (2017); El orden Natural de las Cosas, Museo Jumex, Mexico City (2016); Ce qui ne sert pas s’oublie, CAPC musée d'art contemporain de Bordeaux, France (2015); Storylines: Contemporary Art at the Guggenheim Museum, New York (2014); Arqueológicas, Matadero Centro de Creación Contemporánea, Madrid (2013); Resisting the Present, Musée d’Art moderne de la Ville de Paris (2012); Æther – Une proposition de Christoph Keller, Centre Georges Pompidou, Paris (2011); For the blind man in the dark room looking for the black cat that isn’t there, Institute of Contemporary Arts (ICA), London (2010); The Malady of Writing, Museu d’Art Contemporani de Barcelona (MACBA), Spain (2009), among others.

 

She has participated in biennales such as: Sharjah Biennial 13, Tamawuj, United Arab Emirates (2017); Documenta 14, Athens (2017); 8 Berlin Biennale (2014); dOCUMENTA (13), Kassel, Germany (2012); 54th Venice Biennial (2011); AB2 HEAVEN 2nd Athens Biennale (2009); Manifesta 7, Trentino – Alto Adige, Italy (2008); 7th Shanghai Biennale, China (2008), among others.

 

Mariana Castillo Deball lives and works in Berlin.