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Xipe-Totec a.c.

Profile and history

The association is created fully oriented to graphic arts´ gestation and promotion, helping and giving patronage to all persons who have the desire to transcend about this sort of artistic activity, in order to consummate their labors into their careers such as the serigraphy, the engraving and the lithography in Mexico and Iberoamerica. The objective will be contrived promoting courses, conferences, workshops and all sort of activities routed to that personal and social effort.

The first artistic and cultural act and exposition as Xipe is done under the sponsorship of the Seminario de Cultura Mexicana (Mexican Culture Seminary) being Ms. Sanda Racota the principal guarantor of the event. As a fundamental feature of the development is the early participation of Mr. Raul Salinas López, Ms. María Rubio and their Café-Galería Enanos de tapanco with the artists’ portfolio conformation which were coming along with Xipe. Yet in 2001 it was presented a masterful exposure with the graphic oeuvre of Liliana M. Pomeroy in this gallery.

Upon the collaboration with the federal institutions was remarkable the collective exposure El contexto momentáneo y un cierto estilo internacional (The momentaneous context and a certain international style) presented with the intermediation of the INBA (Beauty Arts National Institute) at la Tallera in Cuernavaca, Morelos. Other great sponsor had been Ms. María Eugenia Gutiérrez who has convoked three exposures at El Exconvento del desierto de los leones, in the Delegación Cuajimalpa (Cuajimalpa county), where were included picture, sculpture, engraving, installation, drawing and photography.

In 2004 Xipe bought a mexican traditional masks collection which was presented at the Museo regional de Azcapotzalco, under the headline of Criptas de fuego (Fire crypts), definitive event for the constitution and franc development of the association activities. In parallel with the exposures’ activities exists a project named Cuaderno de pintores y escultores (Painters and sculptures’ notebook), that come to furnish dynamic and a inclusion cachet with new technology, cataloguing in video the plastic and graphic arts’ panorama in Iberoamerica.

In fall 2006 Xipe coronate the efforts giving a hop into the new informative context and bring out the portal association (actually in reconstruction) entering into the global orbit and be accord with the cyber vanguards. Nine years ago in the original sitting and with the website´s propose at the same time as today, there was the wish to be coherent with the technology´s development. Nowadays exist the possibility and it has been added capacities to can include new propositions like literature, cinema or theatre. The point of view has corroborated that any cultural promoter basement cannot forget the dominion´s importance and primacy and the feedback with the graphic arts to an ulterior transdisciplinary develop where specified ends converge.

Mexican traditional masks

“…to tell me thus that

i not exist anymore

that you saw through the mask

and found me empty.”

Gilberto Owen

Portable sculptures, Mexican masks with deep prehispanic root, that conform this anthological exhibit, make honor to his theatrical lineage name, person, personage, costume with the exponent is characterized, by means of which adopt specific visuals qualities that conform the elected identity to actuate in a virtual scene, where partake with the spectators the great old one space and time, proper to the divinity. Magic objects conceived to a celebrated exercise and ritual essentially, the ones those take part of this collection came of all over country´s territories, creations of numberless of our original ethnics.

Beings of much diverged conformation, naturally aggressive, ferocious, lubricious, show the tusks and the tongues; very much of them horned, not dissimulate their demonic and bestial incline, profound and nocturne; the skulls, the ocelots, pumas, bats; coyotes, boars, rapacious birds, fishes and mermaids; tridimensional pieces pigmented in fulgurous colors. Some of them show double face heads, like the Tlatilco Venus, the most antique Mesoamerican sculptures, probing this manner their ancestral ascendancy and, thus as in the zoomorfs their totemic character, the nagual that correspond us at birth, our animal and savage ingredient and, by itself, pure and ingenious. Because to these elements in their meaning also intervene our idiosyncrasy; the masks are remarkable exponents of identity yawning addresses.

Or as would say one of our biggest poets, Octavio Paz, “…the Mexican closes in himself because is part of his manfulness, to open to the others is treason symbol; he cannot open to the others and express his feelings since others could not understand him and that would be ‘be affright’ (…) we hide us behind masks that make us improvise and take us of a lie after lie, we make us “no one” to ourselves; such a thing has a great bravery. Mister “no one” is very much powerful in our lives and although he seems to be nobody, is the bigger mask we bear, dissimulate our existence and the one of the others, it can drown or disappear us.”



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