{"id":7274,"date":"2023-02-27T16:07:07","date_gmt":"2023-02-27T15:07:07","guid":{"rendered":"https:\/\/editorialconcreta.org\/?p=7274"},"modified":"2024-08-23T14:08:34","modified_gmt":"2024-08-23T12:08:34","slug":"recuerdo-de-sevilla","status":"publish","type":"post","link":"https:\/\/editorialconcreta.org\/en\/artists-books\/recuerdo-de-sevilla\/","title":{"rendered":"Recuerdo de Sevilla"},"content":{"rendered":"\n
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The work of Inmaculada Salinas (Guadalcanal, Seville, 1967) revolves around “the feminine”, understood as a social subject, which she places in a position that is not usually found, in which everything revolves around her. Salinas analyzes how this concept has been portrayed and transmitted throughout history through different systems of visual representation. In Remembrance of Seville\u2014an investigation that began in 2014\u2014the artist analyzes the social mechanisms that contribute to the invisibility of women through a rereading of the iconography of Seville and its 162 streets labeled with women’s names. As Charo Ramos explains, it is a critical rereading of this iconography, so dependent on foreign views, especially that coined by French romantic travelers: \u00abEach card is made up of a postcard and a quote.<\/p>\n\n\n\n

The text, written in Spanish and French, consists of paragraphs taken from the works Carmen by Prosper M\u00e9rim\u00e9e and The Woman and the Pelele by Pierre Lou\u00ffs in which the protagonists are named: Carmen and Conchita. These quotes intersect, on the one hand, with the 162 women’s names used in the Sevillian gazetteer (which are arranged alphabetically), and, on the other, with a collection of postcards\u2014rather, anti-postcards\u2014that show a part that is not very visible and often peripheral to the city. Thus, Salinas \u00absubverts our expectations, plays with the unpredictable. By bringing materials of very different origin and purpose into dialogue, pulverizing hierarchies through iterations under a common heading, these anti-postcards seem to participate, at times, in the very free attitude of Luis Bu\u00f1uel – who filmed his last film, That Obscure Object of Desire (1977), a very free adaptation of The Woman and the Puppet\u2014and the reflections on the cultural contaminations of Aby Warburg and her collections of images.<\/p>\n\n\n\n

This publication is accompanied by texts by Luis R. M\u00e9ndez, Charo Ramos and Roc\u00edo Plaza Orellana.<\/p>\n\n\n\n

Layout: jaume marco \u2013 estudi
Language: Spanish
Pages: 190
ISBN: 978-84-127001-6-9
Tama\u00f1o: 29,7 x 19 cm
Year: 2023
Prize: 20 euros<\/p>\n\n\n\n

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\"Recuerdo
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\n\t\t\t\t\t20,00 €<\/span><\/bdi><\/span> IVA Incl.<\/small>\n\t\t\t\t<\/div><\/div>\n\n
\n\t\t\t\t\t\n\t\t\t\t\tAdd to cart<\/span>\n\t\t\t\t\t<\/button>\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\tView cart\n\t\t\t\t<\/a>\n\t\t\t<\/span>\n\t\t\t\t<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"The work of Inmaculada Salinas (Guadalcanal, Seville, 1967) revolves around “the feminine”, understood as a social subject, which she places in a position that is not usually found, in which everything revolves around her. Salinas analyzes how this concept has been portrayed and transmitted throughout history through different systems of visual representation. In Remembrance of Seville\u2014an investigation that began in 2014\u2014the artist analyzes the social mechanisms that contribute to the invisibility of women through a rereading of the iconography of Seville and its 162 streets labeled with women’s names.\n","protected":false},"author":58,"featured_media":5924,"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":"disabled","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":[114],"class_list":{"0":"post-7274","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":114,"user_id":58,"is_guest":0,"slug":"inmaculada-salinas","display_name":"Inmaculada Salinas","avatar_url":{"url":"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_i.jpg","url2x":"https:\/\/editorialconcreta.org\/wp-content\/uploads\/2024\/03\/avatar-author_i.jpg"},"0":null,"1":"","2":"","3":"","4":"","5":"","6":"","7":"","8":""}],"_links":{"self":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/7274","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\/58"}],"replies":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/comments?post=7274"}],"version-history":[{"count":0,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/posts\/7274\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media\/5924"}],"wp:attachment":[{"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/media?parent=7274"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/categories?post=7274"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/tags?post=7274"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/editorialconcreta.org\/en\/wp-json\/wp\/v2\/ppma_author?post=7274"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}