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XIPE TOTEC Thomas Thomas Glassford Glassford




To commemorate the Centennial of the National University, Thomas Glassford has conducted an on-site installation that uses as support tower Centro Cultural Universitario Tlatelolco, a modernist landmark designed by Pedro Ramírez Vásquez to house the Ministry of Foreign Affairs, on the side of the historic Plaza of Three Cultures where the massacre took place a few weeks of peaceful protesters before initiated the Mexico Olympics in 1968.

A network intriguing, relatively invisible during the day, it burns like fire in the evening becoming light pattern as complex as the history of the site itself. Glassford architectural intervention, and visually intricate technique, covers the four facades of the building with a veil of red light-emitting diodes and blue. The geometry of the lattice part of the artist's fascination with cultural assumptions about new discoveries of quasi-crystals formations and mosaics-periodic, configurations which by definition lack translational symmetry. "Discovered" by Western scientists recently - initially as a mathematical enigma formations quasi-crystals found in nature as subatomic crystal structures. After this finding, a physics student doing his Ph.D. at Harvard was able to recognize this pattern in the XV century Persian architecture while traveling in Iran today. Their presence in medieval architecture not only perplexed the scientific community, it was considered impossible. The celebration of the triumph of the achievements of one culture over another is endless and can be understood as a poetic parallel to the installation site of Glassford, it is situated in an urban landscape cyclically defined and defiled by the presumptions of successive civilizations. In Tlatelolco converge the remains of one of the most important archaeological sites in the Valley of Mexico, the former administrative center of more than twenty districts, and the colonial church of St. James built from the ruins of Aztec temples looted. This is also where you will find the College of Santa Cruz de Tlatelolco-cultural first cruise of the New World.

Aptly, the title of the work, Glassford decide to worship the god Aztec or Mexica, Xipe Totec. Also called "Our Lord the Flayed One" or "Night Drinker." Xipe Totec was excoriated for feeding humanity, an act that reflects the release of the outer layer of the corn seed before germination, an act of rejuvenation. In the Aztec world, priests adorned themselves in the skins of defeated warriors as a symbol of rebirth, health and life. Likewise, Tlatelolco wears new skin capillary system which shines to commemorate a new life as a cultural center, a beacon visible from any vantage point in the Valley of Mexico.

Learn more about the artist at Gallery Sicardi

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Commissoned to Commemorate the Centennial of the National University of Mexico



To commemorate the centennial of the National University of Mexico (today Known as the UNAM), Thomas Glassford has created a site-specific installation that covers the main tower of the new University Cultural Center in Tlatelolco. This—a modernist landmark was designed in 1963 by Pedro Ramírez Vásquez to house Mexico's Ministry of Foreign Affairs. A relatively invisible but intriguing web by day, the work is set aflame by night in a luminous pattern as complex as the history of the site itself.

Glassford’s monumental work is a relatively invisible but intriguing web by day, which is set aflame at night in a luminous pattern as complex as the history of the site itself. The technically and visually intricate architectural intervention covers all fourth marble façades of the building in a red and blue veil of neon-like LEDs. The geometry of the network is based on about new findings: quasi-crystals and a periodic tiling, configurations that by definition lack translational symmetry. Beyond the intricate geometries, however, Glassford was fascinated by the cultural presumptions that shaped recent studies of these forms. In the 1970s, Western scientists, including Roger Penrose, “discovered” these forms—initially as an abstract mathematical conundrum, but then —quasi-crystal formations were found to exist in nature as the crystalline substructures of atoms. However, the story is more complicated: in 2007, a Harvard doctoral student specialized in this field of physics was able to recognized the same patterns in fifteenth-century Persian architecture while traveling in through modern current day Iran in—of all things—fifteenth century Persian architecture. This medieval appearance in “medieval” architecture use of such complex forms, long unknown in the West, not only baffled the scientific community. Cultural biases prevented them from admitting that the Persians had figured it all out half a millennium before.

The never-ending celebration of one culture’s accomplishments over another’s serves as a poetic parallel to the site of Glassford’s installation, situated in an urban landscape that has been defined and defiled by the presumptions of successive civilizations, all of which have converged at Tlatelolco. An important city and market center during the Aztec period, Tlatelolco remains of one of the most important pyramids archeological sites in the Valley of Mexico. Adjacent to the restored pyramids, the church and monastery of Santiago Apóstol, built in the 1530s from the wreckage of razed temples, was also the site of the College of Santa Cruz de Tlatelolco, a center of learning where Franciscan monks imposed Western Christian doctrine on their elite indigenous students, a process that would continue in the following centuries throughout the “New World”. After the construction of the Ministry of Foreign Affairs in the early 1960s, and the erection of a nationalist historical Plaza de las Tres Culturas nearby, the word “Tlatelolco” took on a new and more violent connotation after the historical student massacre took place— weeks before Mexico hosted the 1968 Summer Olympics–when the students were being congregated to start a pacific demonstration against the government. All these events occurred in the shadow of the Ministry’s tower .

Appropriately, the Aztec deity Xipe Totec is alluded to through Glassford’s title. Also known as “Our Lord the Flayed One” or “Drinker of the Night,” Xipe Totec skinned himself in order to feed humanity, an act akin to maize shedding its outer layer in order to germinate—an act of rejuvenation. In the Aztec world, priests wore the complete skins of flayed warriors as symbols of regrowth, fertility and life. Likewise, Tlatelolco has been sheathed in a new skin: its capillaries glow to commemorate a new life as a cultural center—a beacon visible from any vantage point of the Valley of Mexico.

To know more about the artist visit Sicardi Gallery

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That is the bar

Enrique?

good, cities are the daughters of fear, fear of the jungle. and the layout of the city of righteousness, you discover that the city, streets, corners, blocks, sidewalks. This all built so that no blind donkey walk by it. the bar is, the last wetlands in the jungle, the last places where there is a risk that is not the bar, and is where Cuchi Cuchi is building this little life that lets you breathe in the city where you have to settle for have if you got children you write a book. the bar is the last offer of eternity, the last offer is the freedom, the danger to lose your girlfriend, you get angry with your friend, to show strangers, I think the bar is above all, do not tell the forest, but at least the forest is left for the city. Enrique Sins

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The black soles

Close your mouth, passing by, peek, do no more than acts of cleverly spaced has served some purpose: input to JR, good boy soon to the revolution of bread hugs, strange invented a mythology about what were the times of the verb and made idiotic hit counter. Dress up the old lean meat Tusitala and takes to the hills to tell children stories of another time. The cretins are not heard of the idiots? Sit in a circle, draw the pouch bread and cheese and listen, because I speak the gold of a lost kingdom. The problem, which does not ignore the good Tusitala, is that children who listen, are the protagonists of that story honestly was not so. Children-old's good for them, however, listen to good prose the story of what did not happen, the vindication of texts whose value, alas, was the method.

High in the mountains gray is still hearing the roar of the horns of the old bulls in rut forever. Forlati Angresola and insist and insist, they meet and admire, white fuming by the lips, perch on the rock of memory, beautiful postcards of caper sign and run to the center of the valley to meet again in the middle of a thunder.
Across the world, La Comtesse, persists in the ways of the siren and meat sings winged sharp rocks against which splinter ships.
This aside
Morena glad retrospective. baidaliza Baidal than that. And Vice gift is stolen and turns off the lights.

say that creatine is not writing as mourn because dinner is over when we are still in the first course. But so are, I suppose, inevitable stained beings who live to remember. We do not anticipate the tragedy for nothing in particular boys, just because, deep down, we came by the tragedy and as wanting to walk a great failure that lead to the mouth. An epitaph of the realm to roll over the bar.

So for the moment not watered down the wine is not bad. It is almost never bad.