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Martin Levêque
"Archipel 4"

2019

About the Item

The Archipel series is built from compositions constructed from dynamic geometric figures and contrasting primary colours. Levêque is inserted in the modernist photographic heritage that emerged with Lászlo Moholy-Naghy (1895-1946) or Man Ray’s exercises as a means to explore the optical and expressive properties of light in objects. Thus, the forms that make up Archipel shed the meaning of the object that produces them and become autonomous entities that arise from both technical premeditation and chance. -Alberto Ríos de la Rosa, Art Historian. *Limited editions, certified, signed and numbered. Produced with museum standards.
  • Creator:
    Martin Levêque (1987, French)
  • Creation Year:
    2019
  • Dimensions:
    Height: 23.6 in (59.95 cm)Width: 31.4 in (79.76 cm)
  • More Editions & Sizes:
    29.5 x 43 in, Ed. 4 + 1 A.PPrice: $2,20053.14 x 35.43, Ed 2 + 1 A.PPrice: $4,400
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Ciudad De México, MX
  • Reference Number:
    1stDibs: LU1842210532182
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  • "Archipel 7"
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  • "Archipel 5"
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  • "Archipel 3"
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  • HUICHOL: MOUNTAIN, DESERT, NEW YORK (`95-`21). Limited edition of 5.
    By PABLO ORTIZ-MONASTERIO
    Located in Ciudad De México, MX
    Documentary Photograph. Contemporary Inkjet on cotton. Limited edition of 5. Signed front and verso. Framed in lacquered black frame with spacer) The first person to photograph the Huichol in their remote communities in the inaccessible canyons of the Western Sierra Madre was probably the Norwegian anthropologist, Carl Lumholtz. He ventured into their territory in 1895, shortly before the arrival of the French naturalist and ethnographer Léon Diguet, who was also a photographer. Like so many who were engaged with documenting Indigenous peoples across the Americas in those brutal years of expansion and settlement, Lumholtz believed that the disappearance of his subjects was inevitable: “the weaker must succumb to the stronger, and the Indians will ultimately all become Mexicans.” The photographs of the Huichol by Pablo Ortiz Monasterio—taken on some twenty trips over the past three decades—prove that Lumholtz was fortunately, terribly wrong. They reveal abundant evidence of cultural survival (what the Huichol call “la costumbre”), made possible by their extraordinary resistance to the religious, nationalist, and economic forces that have long assaulted—and that continue to assault—Indigenous communities everywhere. Though Ortiz Monasterio is also an outsider, he does not operate—like Lumholtz or Diguet—as an old-fashioned preservationist, nor is he confident in the superiority of Western culture, nor is his work only destined for museum vitrines...
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