2014 – 2016 JUGADOR COMO PELOTA, PELOTA COMO CANCHA / TORNEOS 1974-1992, MANUEL CASANUEVA, ESCUELA DE VALPARAISO
Jugador como pelota, pelota como cancha. Torneos, 1974-1992, Manuel Casanueva, Escuela de Valparaíso
Design, concept, and silkscreen printed cover by Felipe Mujica
Texts by Felipe Mujica, Eugenia Gazmuri, and Manuel Casanueva (edited by Olivia Casanueva and Macarena Hernández)
Translations by Michele Faguet
3 editions: Mexico City (2014), Guatemala City (2015), New York City (2016)
(Details bellow)
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Artist book/homage to Manuel Casanueva, architect and teacher at the School of Valparaíso (Escuela de Arquitectura y Diseño, Pontificia Universidad Católica de Valparaíso, Chile). The Torneos (tournaments) were developed in the context of “Cultura del cuerpo” (Culture of the Body), a workshop conducted by the architect Manuel Casanueva from 1974 to 1992 in the School of Architecture of the Catholic University of Valparaíso. In these ludic exercises, the concept and structure of each “game”— field, teams, rules, props—were utilized to produce different kinds of corporal and spatial interactions that emphasized collectivity, chance, and improvisation.
The tournaments had rules and objectives, but they often failed and then transformed into something else. Each tournament used physical impediments—obstructed vision, stilts, and so on—that challenged the body to function in a new manner within a de ned space and in relation to other bodies. It was not uncommon for one tournament to contain several different versions, or for a tournament to evolve into another one, either by accident or in an attempt to perfect it. Each tournament was inspired by a sport or cultural references like rugby, baseball, silent film antics, and Ariadne’s thread, just to name a few. The tournaments incorporated such classical and popular references while attempting to solve nonexistent problems. Ultimately they were extremely playful spatial exercises enacted in an academic context during a period in Chile in which public space was rigidly controlled by Pinochet’s authoritarian dictatorship.
This book was conceived during conversations with María Berrios and Paola Santoscoy in the context of my exhibition “Arriba como ramas que un mismo viento mueve” (Up Above Like Branches Moved by a Common Wind), at the Museo Experimental El Eco in Mexico City. It both pays homage to Manuel Casanueva and all the people who contributed to the creation and development of the tournaments, and introduces his work to an international public by providing an English translation of Casanueva’s descriptions of the tournaments.
All images are courtesy of:
Archivo Histórico José Vial Armstrong
Escuela de Arquitectura y Diseño
Pontificia Universidad Católica de Valparaíso, Chile
1st Edition:
Jugador como pelota, pelota como cancha. Torneos, 1974-1992, Manuel Casanueva, Escuela de Valparaíso
Offset and digital print with silkscreen jacket
275 copies
Printed at Technographics, Mexico City
Published on the occasion of the exhibition: Arriba como las ramas que un mismo viento mueve
Museo Experimental el Eco, Mexico City
August 14 – November 16, 2014
2nd Edition:
Jugador como pelota, pelota como cancha. Torneos, 1974-1992, Manuel Casanueva, Escuela de Valparaíso
Digital print with silkscreen jacket
50 copies
Printed at Print Studio, Guatemala City
Published on the occasion of the exhibition: Jugador como pelota, pelota como cancha
NuMU, Guatemala City
April – September, 2015
3rd Edition:
Jugador como pelota, pelota como cancha. Torneos, 1974-1992, Manuel Casanueva, Escuela de Valparaíso
Risograph and digital print with silkscreen cover
100 copies
Printed at The Circadian Press, Brooklyn NY
Published on the occasion of the exhibition: Jugador como pelota, pelota como cancha
Despina | Largo das artes, Rio de Janeiro
May 25 – June 24, 2016
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