{"id":12466,"date":"2024-06-24T17:53:18","date_gmt":"2024-06-24T15:53:18","guid":{"rendered":"https:\/\/editorialconcreta.org\/?p=12466"},"modified":"2024-08-23T14:23:50","modified_gmt":"2024-08-23T12:23:50","slug":"muros-de-viento-sarcofagos-cristalinos","status":"publish","type":"post","link":"https:\/\/editorialconcreta.org\/en\/artists-books\/muros-de-viento-sarcofagos-cristalinos\/","title":{"rendered":"Muros de viento. Sarc\u00f3fagos cristalinos"},"content":{"rendered":"\n
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Mar\u00eda Garc\u00eda Ruiz’s research focuses on a series of unique architectural projects carried out in different parts of Europe during the 1960s and 1970s that sought to settle nomadic and itinerant populations, mostly Roma. At the same time, there are experimental developments in the field of architecture that present a real hypertrophy in terms of mobility and flexibility of space (so-called radical architecture).<\/p>\n\n

En Muros de viento. Sarc\u00f3fagos cristalinos<\/em>, the author proposes to review these two phenomena as opposing symptoms of a new conception of space that was implemented at that time and that continues to operate today more than ever. However, the publication is not a conclusion to this question, but offers possibilities for connections through a selection of displaced images and fragmented texts. These materials are organised in such a way that it is precisely in the rhythm, pauses or silences between images and texts that Mar\u00eda Garc\u00eda Ruiz invites us to look for hypotheses.<\/p>\n\n

Mar\u00eda Garc\u00eda Ruiz (1981) is an artist and researcher with a background in architecture. Her projects explore the production of territory through the articulation of hybrid narratives between image, writing and action. She is currently developing her practice as a resident at Hangar (Barcelona).<\/p>\n\n

Idioma: Espa\u00f1olP\u00e1ginas: 160ISBN: 978-84-127001-7-6Primera edici\u00f3n de 300A\u00f1o: 2024Precio: 15 euros<\/p>\n\n

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<\/div>\n","protected":false},"excerpt":{"rendered":"In Muros de viento. Sarc\u00f3fagos cristalinos, the author proposes to review these two phenomena as opposite symptoms of a new conception of space that was implemented at that time and that continues to operate today more than ever. However, the publication is not a conclusion to this question, but offers possibilities for connections through a selection of displaced images and fragmented texts. These materials are organised in such a way that it is precisely in the rhythm, pauses or silences between images and texts that Mar\u00eda Garc\u00eda Ruiz invites us to look for hypotheses.\n","protected":false},"author":83,"featured_media":13083,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"csco_singular_sidebar":"","csco_page_header_type":"","csco_custom_appearance":"","csco_disable_excerpt_posts_layout":false,"csco_page_load_nextpost":"","csco_post_video_location":[],"csco_post_video_location_hash":"","csco_post_video_url":"","csco_post_video_bg_start_time":0,"csco_post_video_bg_end_time":0,"footnotes":""},"categories":[159],"tags":[160],"ppma_author":[243],"class_list":{"0":"post-12466","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artists-books","8":"tag-spanish","9":"cs-entry","10":"cs-video-wrap"},"authors":[{"term_id":243,"user_id":83,"is_guest":0,"slug":"maria-garcia-ruiz","display_name":"Mar\u00eda Garc\u00eda Ruiz","avatar_url":{"url":"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_M.jpg","url2x":"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_M.jpg"},"0":null,"1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/12466","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/users\/83"}],"replies":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/comments?post=12466"}],"version-history":[{"count":0,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/12466\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media\/13083"}],"wp:attachment":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media?parent=12466"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/categories?post=12466"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/tags?post=12466"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/ppma_author?post=12466"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}