Maria teresa castillo biography graphic organizers
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.
Mariana Castillo Deball lives and works in Berlin and Mexico City.
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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 yo Skip to main content File — Box: 4, Folder: 1 From the Collection: Elmer Martinez donated his collection to the Center for Southwest Research in 2018. It contains correspondence, reports, recordings, photographs, maps, posters, and newspaper clippings related to his efforts to preserve and teach about the contributions of the Hispanic people to the country. There is also information about his insurance agency and his campaign for New Mexico State Representative. Other writings show his ideas about and defense of Spanish history. He corresponded and worked with state politicians and other Hispanic leaders. The collection shows a number of other educational activities in the local community, including at the University of Albuquerque and the University of New Mexico. It all started out differently than I planned, but then again I don’t try to plan everything. Or maybe I do; I dunno, my daily schedule says differently. It’s difficult to describe my four years of focus in a place people call high school. It’s difficult to describe why I feel so drawn to stay yet desperately want to leave. It’s difficult to describe why I find high school to be a safe haven in a building of chaos. It’s difficult to explain why I want to relive my four years here over again and watch every miniscule detail go by, especially when there are scenes of pain, gore and sorrow. Like I said, high school turned out differently than I’d planned. I began high school with a philosophy, one that I didn’t know I had until about junior year: that I would not get close to anyone. I know my freshman year English teacher hated the idea, especially during my sophomore year when she knew I needed to discuss what catastrophes were unwinding in my life. It’s just the way I am; why get close, why talk to someone when you won’t get to spend time with them after you move on. I didn’t want to open my life up even to people that I knew I’d see for more than just a year, who I’d spend the majority of my days with. It’s just the way I am. But the way I am ended up ruining the philosophy I had set for high school. I, for the first two years, sought after people to get close to, to be able to call best friends, but that isn’t possible when you won’t open up about who you are. Yes, I did — do — have best friends, but I did not see them as people to hang out with outside of school. If I did, I’d be afraid they’d really see me for who I was. Cliche, I know, but I am not who people think I am. In turn, my best friends from school stayed at school, my best friends from gym stayed at gym and my best friends from swimming and cross country stayed at swimming and cross country. That’s how things were supposed to be. Then things went south. . Spanish Village Queen, portrait, Teresa Castillo, 1974-1975
Scope and Content
There are papers about his marching color guard unit the Colonial Infantry of Albuquerque, its goals, equipment, members, and various photographs of its activities. For example, included is a script and recording of the Infantry’s Garfield school program and a recording of the Bicentennial tribute to Max Royal for his retablo in San Felipe Church, Old Town. Martinez worked with the Albuquerque Sociedad Hispanica Cultural, headed by Hugo Pena, and has material about their activities. Photographs and papers from his Columbus Day programs in Old Town Albuquerque show members of the Latin American and Italian organizations who celebrated the event with him.
While Martinez was Secretary of the Spanish Village Corporation, of the New Mexico State Fair, he saved some meeting notes and plans about the operations of the village and the Spanish Village queen’s pageant. When he was Director of the Spanish Village - Villa Hispana and hosted several Spanish Heritage shows, he retaining files about the programs, contracts with the performers, and his innovations to improve the village. There are photographs o Final Blog: Maria Castillo