In the rear-view mirror appeared Tezcatlipoca, demiurge of the “smoking-mirror.” “All those guide books are of no use, “said Tezcatlipoca. “You must travel at random, like the first Mayans; you risk getting lost in the thickets, but that is the only way to make art.”
\n– Robert Smithson, “Incidents of Mirror-Travel in the Yucatan” (1969)<\/i><\/p><\/blockquote>\n
In 1973, the land artist Robert Smithson was in a plane overseeing the site of his new work Amarillo Ramp in Texas when his pilot collided into a mountain, killing them instantly. It was a tragically prophetic death for a man who once said that the physical and the mind are in a “constant collision course”. For in the process of making of his work, he had inadvertently ended the physical possibility of himself making the work. And for those of us who are deeply interested in land and spaces, and in places, the physical impossibility of being in more than one place has always been a quandrary.<\/p>\n
For me, the most striking realization of traveling from Mexico to Singapore is the physical distance from Singapore. I marvel at being able to sit in a plane that flies across continents and oceans, according to the map on your inflight screen, and finally lands on the opposite side of the globe\u2026 And then to pick up and to hold in my hand a seemingly inconsequential rock on the ground in Mexico… These rocks, stones, soil, and dirt have been a silent but constant audience to man\u2019s numerous movements and interventions around the globe.<\/p>\n
I saw numerous artefacts at the Museo de Antropolog\u00eda e Hist\u00f3ria de Toluca, at the Museo Nacional de Antropologia in Mexico City, and in a small bookstore here I also saw miniature replicas of some of these ancient sculptures – from the iconic coiled feathered serpent of Quetzalcoatl to the Aztec Sun Stone, which is also frequently simply labelled as “Mayan Calendar” in small shops. As an artefact, the \u201cMayan Calendar\u201d is visually arresting with its detailed glyphs and symbols. The calendar round itself is made up of 3 interlocking cycles made up of 365 days, 20 names, and 13 numbers, and the names of the dates are designated according to the alignment of the three cycles. 52 years will pass before the three cycles will align in the same way again. The origins of these calculations also came from the way in which the earth aligned with the sun and the other stars and planets. Although we think of time as a fluid abstraction, it is marked by observable changes in the position of physical matter \u2013 the very physicality of the land and earth that we are on.<\/p>\n
\nAutomatic translation with Google Translate:<\/p>\n
\u2699 \/ EL SOL DE CICLO<\/p>\n
Por Debbie Ding<\/p>\n
En el espejo retrovisor apareci\u00f3 Tezcatlipoca, demiurgo del “h\u00e1bito de fumar-espejo”. “Todas esas gu\u00edas no sirven de nada”, dijo Tezcatlipoca. “Usted debe viajar al azar, como los primeros mayas, corre el riesgo de perderse en la espesura, pero esa es la \u00fanica manera de hacer arte.”<\/p>\n
– Robert Smithson, “los incidentes de espejo de Viajes en la pen\u00ednsula de Yucat\u00e1n” (1969)<\/p><\/blockquote>\n
En 1973, la tierra artista Robert Smithson estaba en un avi\u00f3n que supervisa el sitio de su nuevo trabajo Amarillo Ramp en Texas cuando su piloto choc\u00f3 contra una monta\u00f1a, mat\u00e1ndolos al instante. Fue una muerte tr\u00e1gicamente prof\u00e9tico para un hombre que dijo una vez que el f\u00edsico y la mente est\u00e1n en un “curso de colisi\u00f3n constante”. Porque en el proceso de elaboraci\u00f3n de su obra, sin darse cuenta que hab\u00eda terminado la posibilidad f\u00edsica de s\u00ed mismo haciendo el trabajo.<\/p>\n
Para m\u00ed, la realizaci\u00f3n m\u00e1s notable de viajar desde M\u00e9xico a Singapur es la distancia f\u00edsica de Singapur. Me maravillo de poder sentarse en un avi\u00f3n que vuela a trav\u00e9s de continentes y oc\u00e9anos, de acuerdo con el mapa en la pantalla durante el vuelo, y finalmente aterriza en el lado opuesto del mundo … Y luego para recoger y sostener en la mano una apariencia roca intrascendente sobre el terreno en M\u00e9xico … Estas rocas, piedras, tierra y suciedad han sido un p\u00fablico silencioso pero constante de numerosos movimientos del hombre y las intervenciones en todo el mundo.<\/p>\n
Vi numerosos artefactos mayas y aztecas en el Museo de Antropolog\u00eda e Historia de Toluca, y en una peque\u00f1a librer\u00eda aqu\u00ed tambi\u00e9n vi r\u00e9plicas en miniatura de algunas de estas esculturas antiguas, desde la serpiente enrollada ic\u00f3nica emplumada de Quetzalc\u00f3atl a la Piedra del Sol Azteca, que Tambi\u00e9n es frecuente, simplemente etiquetados como “Calendario Maya” en las tiendas peque\u00f1as. Como un artefacto, el “Calendario Maya” es visualmente con sus glifos y s\u00edmbolos detallados. La ronda del calendario en s\u00ed se compone de 3 ciclos entrelazados compuestos por 365 d\u00edas, los nombres y los n\u00fameros 20, 13, y los nombres de las fechas se designan de acuerdo a la alineaci\u00f3n de los tres ciclos. 52 a\u00f1os pasar\u00e1n antes de los tres ciclos se alinear\u00e1 de la misma manera otra vez. Los or\u00edgenes de estos c\u00e1lculos tambi\u00e9n vino de la forma en que la Tierra alineada con el sol y las estrellas y los planetas. A pesar de que pensar en el tiempo como una abstracci\u00f3n de l\u00edquidos, que se caracteriza por cambios observables en la posici\u00f3n de la materia f\u00edsica: la corporalidad misma de la tierra y la tierra que nos encontramos.<\/p>\n
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<\/center>The Actual Sun Stone which I went to see at the Museo Nacional de Antropologia in Mexico City…<\/p>\n","protected":false},"excerpt":{"rendered":"\u2699 \/ THE SUN CYCLE By Debbie Ding In the rear-view mirror appeared Tezcatlipoca, demiurge of the “smoking-mirror.” “All those guide books are of no use, “said Tezcatlipoca. “You must travel at random, like the first Mayans; you risk getting lost in the thickets, but that is the only way to make art.” – Robert […]<\/p>\n","protected":false},"author":1,"featured_media":1231,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[],"tags":[153,508],"jetpack_featured_media_url":"https:\/\/dbbd.sg\/blog\/wp-content\/uploads\/2021\/05\/7162612521_7cb201d2cb_c.jpg","_links":{"self":[{"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/posts\/372"}],"collection":[{"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/comments?post=372"}],"version-history":[{"count":2,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/posts\/372\/revisions"}],"predecessor-version":[{"id":1284,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/posts\/372\/revisions\/1284"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/media\/1231"}],"wp:attachment":[{"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/media?parent=372"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/categories?post=372"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dbbd.sg\/blog\/wp-json\/wp\/v2\/tags?post=372"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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