{"id":1246,"date":"2019-02-20T15:51:07","date_gmt":"2019-02-20T21:51:07","guid":{"rendered":"http:\/\/edaa.mx\/?p=1246"},"modified":"2025-08-28T17:14:14","modified_gmt":"2025-08-28T23:14:14","slug":"marmol-madera-pintura-arroz","status":"publish","type":"post","link":"https:\/\/edaa.mx\/en\/marmol-madera-pintura-arroz\/","title":{"rendered":"MARBLE, WOOD, PAINT. RICE."},"content":{"rendered":"<p><\/p>\r\n\r\n\r\n\r\n<p>The audio-light art installation \u2013 Co \u2013 Co \u2013 Co \u2013 Monte L\u00edbano 930 is the origin and the end of a path that groups three spaces covered with different materials. It begins in darkness and transitions towards luminosity and sound clarity in an ensamble of materials, textures, light and sound.<\/p>\r\n\r\n\r\n\r\n<p>The intervention overlaps new materials in order to transform the spaces into simple observation and resonance boxes. In a sequence from less to more, the work explores the visual, acoustic and ornate qualities of marble, wood, paint and rice, the latter being a central raw material in the practices of the artist Yupica.&nbsp;<\/p>\r\n\r\n\r\n\r\n<p>The geometries and continuities of the planes create such containers where the textures and reflections are mixed to endow depth to the surfaces \u2013literally and symbolically\u2013. The apparent void that exists in the rooms gives direction to the principal content of the intervention: the sensorial experience of everyone who walks through.<\/p>\r\n\r\n\r\n\r\n<figure><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/308117905?title=0&amp;byline=0&amp;portrait=0\" width=\"640\" height=\"360\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/figure>\r\n\r\n\r\n\r\n<p><\/p>\r\n\r\n\r\n<p><!--EndFragment--><\/p>\r\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>The intervention superimposes new materials in order to transform the spaces into simplified observation and resonance boxes. In a sequence from less to more, the work explores the visual, acoustic and ornate qualities of marble, wood, paint and rice, the latter being a central raw material in the practices of the artist Yupica.<\/p>\n","protected":false},"author":2,"featured_media":1804,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1246","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-construidos"],"acf":[],"_links":{"self":[{"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/posts\/1246","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/comments?post=1246"}],"version-history":[{"count":0,"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/posts\/1246\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/media\/1804"}],"wp:attachment":[{"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/media?parent=1246"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/categories?post=1246"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edaa.mx\/en\/wp-json\/wp\/v2\/tags?post=1246"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}