Social Architecture:

An a r t c a p a b l e o f w e a v i n g r e l a t i o n s
between various social disciplines, a pla-
ce where ‘the space, the artist and society
can all articulate their own experience’

Raymundo Sesma
P E R M A N E N T C O L L E C T I O N

1 9 9 5 - 2 0 0 1
 1

INDEX
INTRODUCTION

2 ADVENTO

3 ACTIVITIES

4 EXHIBITION

5 INTERVIEW

6 TECALI

7 TALAVERA

8 AUTHORS

9 ONYX AND MARBLE WORKS

10 TALAVERA WORKS

11 SPECIAL PROJECTS

12 ADVISERS

13 INSTITUTIONS

14 SPONSORS

14 CREDITS
 INTRODUCTION
Advento A.C. is a civil association of philanthropic
character. It aims to create a bridge between the

developed and less advanced sector of the society, where

the house is understood like a large house, which is the

city, becomes a laboratory generator of ideas that

influences direct and indirectly the society, developing

projects for specific problems and contexts.

Advento creates programs that include diagnosis of the

land; promotion and diffusion; use and qualification of

the manual work; formation and technical attendance to

the production, as well as the appraisal of the cultural

identity of the product. Advento has advisers in the areas

of environmental and ecological design; craft design;

interior and public design; editorial design; landscape

design; graphic design and corporate image; architecture

of the landscape; urban design; architecture, curatorship

of contemporary art and museography.

Until now, around 800 people have participated in

Advento, directly or indirectly according to the event,

project or discipline, developing ideas that are applied

within a social context without profit aims. Each participant

donates an idea that is proposed to a specialized

international commission in the different areas. These

ideas are evaluated not only by their aesthetic or practical

qualities but by their possible repercussions within the

social context.
 Advento

ADVENTO
Advento A.C. is a project conceived and headed by Raymundo
Sesma, multidisciplinary artist who lives and works in the cities
of Milan and Mexico City since 1980.

It consists mainly as a creative act. Its primary objective is to

develop a superior level of civilization, given that the common
goal of all artistic activity is societal building.

Tecali, “House of Stone” (of the nahuatl “tetl” stone and “calli”
house) entails the collective edification of a place, a house and
a city in which all work should contribute to the union of artist
and craftsmen.

The project tries to establish an infrastructure that benefits the

local and regional economy, that allows the cultural and social
development of the people of Tecali as well as of those who
wish to help the project.

It also proposes to enrich, protect and distribute the artistic

and craftmen’s work in Tecali, and convert it into a place where
the many ideologies and cultures of the world can live together.
1995

ACTIVITIES
1st. Festival of Art & Culture
Tecali, Puebla, Mexico

Onix & marble Crafts Competition

Tecali, Puebla, Mexico

Contemporary Art Exhibition

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Concert ‘3D Sound’

Ex-convent . Tecali, Puebla, Mexico

Exhibition by Yolanda Gutierrez

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

1996

Hands & Art

Pavillion of Contemporary Art . Tecali, Puebla, Mexico
Universidad de las Americas . Puebla, Mexico
Palacio de la Cultura . Tlaxcala, Mexico

2nd. Festival of Art & Culture

Tecali, Puebla, Mexico

Cuba, El lugar en que nacimos

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Septiembre, Photograph Exhibition

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Giuliana Traverso, El circuito del color

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Kalevala Assamble
Gregorio de Gante Theatre . Tecali, Puebla, Mexico

Silent archeology
Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Tecali, house of stone

Universidad Benemérita Autónoma de Puebla . Puebla, Mexico
1997

ACTIVITIES
Ambra Polidori, Elegias
Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Gilberto Chén, Al filo de la navaja

Pavillion of Contemporary Art . Tecali, Puebla, Mexico

Exhibition by George Woodman

Universidad Benemérita Autónoma de Puebla . Puebla, Mexico

International Congress of Design

National Center of the Arts . Mexico City, Mexico
Principal Theatre . Puebla, Mexico

House of Stone
Mexican Gallery of Design . Mexico City, Mexico

Sanar
Ex-hospital . Tecali, Puebla, Mexico

1999

Italian Design: Compasso d’oro, Pinifarina and Interior

Fundación Cultural Bancomer . Mexico City, Mexico

Anna Castelli Ferrieri

Museo Amparo . Puebla, Mexico

Compasso d’oro
University Museum of Puebla . Puebla, Mexico

Arte-facto
Ûbersee-Museo . Bremen, Germany
Bûrgerhalle im Rathaus . Bremen, Germany

2000

International Biennal Design

Saint Ettiene, France

Premio Internazionale Humanware

Milan, Italy

2001

Conferences: Alessandro Mendini & Jesús Moctezuma

Museo Tamayo . Mexico City, Mexico
Universidad Cuauhtémoc . Puebla, Mexico
ADVENTO, A.C.

EXHIBITION
PERMANENT COLLECTION
1995-2001

Travelling exhibition curated by:

Raymundo Sesma
Paula Bello
Alejandro Rivera

Contents
Onyx & marble works: 48
Talavera works: 29
Special Projects: 13

Authors
Number: 47

Photographs
Angela Arziniaga
Elizabeth Castro
Everardo Rivera
Sergio González
20 photographs: 20 X 20 cm.
20 photographs: 40 X 40 cm.

Data cards
Each piece comes with its own data card

Museography:
A print of 3 X 5 m with aphorisms by Eligio Calderón
Rest of museography provided by the host institution

Transportation
Total weight of the exhibition: 750 kg.
Total volume of the exhibition: 15 m3
Number of boxes: 13

Insurance
Total coverage: $118 940.00
(One hundred eighteen thousand nine hundred and forty US Dollars 00/100)

Supplement
Contemporary Art Exhibition
Curated by Jaime Contreras
 INTERVIEW
lnterview with Raymundo Sesma

by Ambra Polidori

What does Advento mean in the context of your work?

Literally Advento means what comes next, what will follow.
Advento looks at humanity and society as caretakers for the
future. Advento’s aim is for today’s development to be contin-
ued tomorrow.

When was the idea of Advento born?

It was born when I was 23 years old, due to a casual visit to

Tecali, Puebla when I realized that this was the last social ves-
tige of a Franciscan urban utopia. lts urbanization which dates
from the 16th century has hardly changed up to the present
day, perhaps about 20%. The majority of the inhabitants of
Tecali have been onyx and marble craftsmen since the arrival of
the Spaniards. Architecturally speaking ¡t has a magnificent
16th century ex-convent, with two water deposits dating from
that era which are wonderful examples of Franciscan engineer-
ing. There is also a theatre dating from the 18th century.

Using the idea that we should build on what has been achieved
through the centuries, I realized that not only in Tecal¡ but in
many parts of Mexico one of our great problems, not only cul-
turally, artistically and economically speaking, is that we have
not taken full advantage of the natural conditions offered to us
by crafts in Mexico and this has given rise to a situation of great
poverty and ignorance.

It was then that I decided to found this project, not only in

order to develop an idea in relation to art but also to actively
participate in a committed way in a collective project. We need
craftsmen as much as they need us and not only from an artis-
tic point of view but also culturally and economically.

Tell us about the symbol, the ¡con designed for Advento:

a house touched by an arrow with two points?

Advento embraces the idea of place in a social context. That is

why its symbol is the house where the arts and possibilities for
action converge. Actions from inside to outside and viceversa.
In Advento, society is not excluded, but integrated into the on-
going process of development of actions and the work of art as
a vital part of what we are.

Advento’s ¡con was designed by an Italian, Alberto Lucía, a friend

and a brilliant man, now unfortunately deceased.

When you talk about Advento you mention a “Social Ar-

chitecture”. How does this concept emerge?

“Social Architecture” is an art form in search of a space outside

of a closed system (such as museums and galleries which are
of secondary importance in Advento) where new relations be-

INTERVIEW
tween man and art can exist. This experience will be defined
by reflection opening upon itself in time. lt is as if the moment
the work of art becomes “space itself” the artist and society can
join their experiences together. The most important element in
the concept of social architecture are the actions for example,
the action of bringing artists and designers together with crafts-
men; the action performed by the craftsman when he works on
a piece; the actions involved in carrying out a project for an
exhibition, etc. That is to say my work as an artist, indepen-
dently of the means, is to construct an idea that has enough
force to become self-generating: through ¡t I become the
speaker, the organizer, the installer, etc.

With the time of nature and life, art is once again positioned in
a space-time dichotomy, that fourth dimension which opens the
21st century. Thus “Social Architecture” does not intend to
create only a work of art, but ah architecture that is composed
of the space in itself. The work of art is therefore manifest
through its actions and documentation, whether this takes the
form of writing, photographs, videos, etc.

“Social Architecture” not as utopia but as eutopia (the place), a

place from which one constructs and experiments. A place or
several places as observatories of reality, both artistic and so-
cial as well as historical. A place which testifies in the same
way as art does: an idea which helps to solve specific problems
about reality: about a way to interpret eutopia, in the sense of
agatopia (to aspire towards the best possible rather than to-
wards an unattainable perfection), with respect to relationships,
environment and social conditions.

“Social Architecture” understood as an experience, as recogni-

tion of our individuality as human beings endowed with a con-
science and talents and with that consciousness through which
man becomes aware of his own identity .

What can you tell me about tradition in relation to “ So-

cial Architecture”?

“Social Architecture” does not propose to rescue the past and

tradition understood as involution, but perceives tradition as
wealth, as evolution, as something alive and capable of being
transformed.

What does the concept of construction obey?

The concept of construction obeys the idea of reinforcing a cen-

tral image in relation to the planned intended content which
can only be perceived in coincidence with the receptor (facilita-
tor) in his intellectual and cultural capacity. For example ac-
cording to Foucault one of the functions of thought is to ques-
tion the origin of things, with the aim of establishing its founda-
tions “recovering- as he himself expressed it- the way in which
the possibility of time, that origin without beginning from which
all things can be born, is constituted”.
This is how I understand “Social Architecture” as a possibility

INTERVIEW
through which the creative art process is carried out, and which
is a metaphor of the creative and critical structure of society:
as a constructive element in a wider operational field.

Going back to the project’s early phase and continuing

on the subject of construction, can you tell me a tittle
more about Tecal¡ and the work that you are carrying out
there?

Given that Advento is principally an act of creation developed

through actions and communications with people and institu-
tions, our main objective is to reach a superior level of civiliza-
tion. The goal of all artistic activity is the construction of social
awareness. Following this line of thought Tecali, «house of stone»
(from the Nahuatl teti, stone and callí, house) means, finally,
the building of place: a house and a city built collectively in
which the union of the artist and the designer with the crafts-
man must be strengthened through all their activities. Given
that Advento wants to establish a formative way of thinking
with social, cultural and economic consequences, on the foun-
dations where two cultures, the indigenous and the European
mix, we plan to build a new community order based on com-
mon awareness, with a principle of learning in which art is con-
verted into language, the tool through which society is raised
and transformed.

To achieve all this, an infrastructure is necessary, isn’t

that so?

Yes, Advento needs to establish an infrastructure which directly

benefits the local and regional economy through various insti-
tutions and enterprises. In this case ¡t is Tecal¡ (in the future
perhaps ¡t will be a different place). ¡t must allow for the social
and cultural development of the inhabitants of this region of
Puebla, as well as that of other Mexicans and foreigners who
wish to collaborate with the project while at the same time
benefiting from ¡t in other towns and cities of the world.

And what has Advento done so far towards achieving this

in Tecal¡?

Besides organizing many events such as art exhibitions, dance,

theatre and music, Advento has invited professionals, investi-
gators from different areas, artists and students from Mexico
and abroad to visit Tecali in order to enrich, protect and pro-
mote both the place itself and the artistic activities that take
place there, thus converting ¡t into a special place where ide-
ologies and cultural tendencies from all over the world can co-
exist: searching to promote a multidisciplinary approach as an
expression of our times, with the philosophy that what matters
is not the medium, but the sense that the artist, the designer or
the craftsman can express through ¡t. A place where traditions
are recovered and where art and popular costumes are nur-
tured close both to the historical roots of our culture and to the
contemporary tendencies of the present day.
A space, a geography which looks towards the future and the

INTERVIEW
world as a place where the recognition and development of art
are the fundamental principles.

What does Raymundo Sesma believe in fundamentally?

On what beliefs is Advento based?

Fundamentally Sesma believes in education and that things can

be achieved through will power and work. Advento believes in
a global village, not in the sense of the destruction of history
and culture in favor of uniformity, but rather in the sense of
totality, cultural wealth and constant communication with our-
selves, others and the world. ¡t believes in an environment made
by mankind for mankind, in the knowledge of our individuality
as human beings and in full consciousness of our own identity.
The historical moment which we are living requires a new vi-
sion, an attitude that will allow us, starting from our own par-
ticular reality, to implement current interpretative categories
with universal meanings. A work of art is not only the result of
personal but also of the collective experience. Therefore Advento
encourages the dynamic participation of society both in its own
events and in the possible solutions to the problems that deter-
mine ¡t. Finally Advento attempts to preserve the best and cre-
ate, influence and modify -with the desire to construct- ideas
and modes of thought applied to different levels of social, ethi-
cal and cultural actions.
 Tecali, a short commentary on its history

TECALI
by Eduardo Merlo

Originally it was founded by groups of toltec origin, as the

totomihuaque and cuauhtincantiaca were. This happened during
the 12th century.

In the begining it was only a small part of the religious-political

center of Cuauhtinchan, located a few kilometers away.

The invasion by the chichimecans profoundly changed the

organization of the (señorios) of the region. As a result of this
the town of Tepeyacac (Tepeaca) surfaced. Tecali became a
subject of it, since the old center floundered.

The conquests of the mexica-tenochca, headed by the valiant

Axayacatl, reduced Tepeyacac’s stature and forced it to pay a
heavy tribute. Tecali then had to increase it’s forced tribute to
Tepeyacac, specially in the amount of tecali stone. By this time
the town has the name of Tecalco: “The place with the houses
of stone”. Although this could also mean that the inhabitants of
the town were “tecaleque”, people who had the right to own
land.

With the arrival of the spanish conquerors, it was captain Gon-

zalo de Sandoval who had the task of conquering and pacifying
the region. With the organization that the Spanish Crown made
up to for the conquered towns, Tecali was still a subject of
Tepeaca in both political and religious terms.

Fortunately for the town, it was made a town of the Crown

which meant that it was except from the tribute to the crown.

Promptly the townspeople took advantage of the (vetas) of onix

for hispanic construction and introduced the (cria) of small cattle:
bovine and sheep.
 The story of Talavera

TALAVERA
by Eduardo Merlo

Emperor Carlos V confirmed the petition of the franciscan monks

that Puebla be put under the protection of all the angels. These
celestial beings, obedient to these mandates and requests
installed themselves comfortably in every available space.
Probably the closest thing to the nature of these beings was the
mayolica, which presents them as beautiful, full of smoothness,
brilliant and polychromy; such as they appear in many places,
specially in the dome base of the Chapel of the Rosary, our
“eight wonder”. From here that the title of the city only become
correct when a representative adition is made: “Puebla of the
Angels of Talavera”.

This exquisite fine ceramic is clearly not from Puebla, its not
even talaveran in origin. It was in Ur of Chaldea, in Babylon, in
the celebrated Persépolises, where it was first elaborated, pieces
of glazed clay and polychromium-plating decorating palaces and
temples

It was until many centuries later that the muslims distributed

the technique everywhere – the arab dominance of most the
the Mediterranean extended them to sultanates and caliphates,
specially in the beautiful Andalucia. The noble art of transforming
ceramics, clays and kaolins into the most incredible pieces of
art had its apogee in the area of Toledo, but most importantl in
the town called Talavera. Later, due to the royal protection placed
upon it by Her Majesty, Doña Isabel the Catholic, it would be
called: “of the Queen”.

Talavera of the Queen became the pride of the reunited christian

Spain. The ceramic workshop’s retained the arab name of alfares:
“al” refering to “Allah” and “fare” that means “the work”, in
other words “the work of Allah”. The marvelous and divine work
of the Supreme being, giving shape and finish to a ceramic the
still follows the ancient recipes of the persians and sumerians.

Observing the etimology of the word “talavera” we come upon

a pleasant surprise. Originaly believed to be moor, it turns out
to actually be a mix of visigoth and latin: “tala” is the root of
craft, cut, etc. And “vera” means “true”. This means “where real
crafts are made”.

In Spain this type of ceramic is known as “mayolica”, because it

is said that it began in Mallorca, an island of the Baleares.

Soon after the spanish conquered Mexico, the city of Puebla of

the Angels was founded by intervention of the franciscan monks.
This was an interesting experiment in that only spanish would
live inside the grid-like city. The city recived many royal stimuli,
the result being the installation of many industries. One of this
was that of the alfares, the old “work of Allah” now guided by
christianity to the greater glory of God.

Puebla, ever since the 1540’s, had it’s altar that took advantage
of the marvelous clay of the mount of Loreto and the ceramics
of Totimehuacan to create and recreate the unmatched pieces
of “Talavera”, as it has always been called. Ever since its
beginnings it’s tried to be “counter” to the toledan one. A local
flavor was added, so to differentiate it from the iberic one.
While the 16th century was full of beautifully carved stone, the

TALAVERA
17th century made use of the Talavera to such a degree that
soon the many domes, starting with the Cathedral’s, were
resplandecent in their tiles coverings. Later, walls and floors
were combined with the brick and stone to create the poblano
barroque, which was complemented with a “visual dessert” from
the plaster shop.

Great examples are the walls of Santo Domingo, of Belen and

of Carmen. All these domes are decorated in colors according
to the clothing of the patron saint. And the facade like those of
the House of Raboso or the Muñecos, which represent many
miths of southeast asia; this was due to the fact that in Puebla
there was great trade and influence with China, Indochina and
the Philipines.

Museums and famed collections show off the beauty of the vases,
plates, basins, sculptures, columns and thousand trinckets more,
which are correctly called “Talavera poblana”.

The colonial age gave way to the republican one, and slowly to
the modern. A great deal of the greatness of old was lost due to
ignorance and speculation. Fortunately, the technique, the
secrets and the wonders of the “Talavera poblana” were passed
from generation to generation of craftsmen, “workers of Allah”,
that kept the tradition intact, just adding the logical, natural
and necesary wisdom of each age.

It’s worth mentioning that for an extremely long time,

imagination seemed to disappear from the craftmen’s work,
practically from the moment in which the traditionalist painters,
like Arrieta, copied in their “still lives” the beautiful pieces of
Talavera. Without explanation, there came an age of plain and
simple imitation of the older forms and decorations. Sometimes
barely enriched with mexican and traditionalist landscape,
inspired by the artists of the 1920’s and 1930’s. Other than
that, there has been absolutely no innovation or contribution,
its like this century has passed unseen.
Adán Paredes

AUTHORS
Alberto Kalash
Alejandro Ramírez Lozano
Alessandro Mendini
Ana Rita García Lascurain
Anali Segal
Angel Ríos
Aracely Vázquez Contreras
Betty Woodman
Carlos Blanco
Carlos Luna
Carlos Villanueva
Claude Bouchard
George Woodman
Gerardo Zarr
Germán Montalvo
Gustavo Pérez
Ilona Tôrmikoski
Ivonne Domenge
Jan Hendrix
Javier Bravo Ferreira
Jesús Moctezuma
Jose Meza
Julián Villaseñor
Karin Waisman
Kazumasa Nagai
Keizo Matsui
Luca Bray
Luis López Loza
M. Portella
M. Suro
María Luisa Dieppa
Massimo Zucchi
Miguel Castro Leñero
Octavio García Rubio
Pablo Kunst
Paula Bello
Raymundo Sesma
Regazzoni
Ricardo de Pirro
Rita Galle
Roberto Turnbull
Sara Potter
Selene Lazcarro
Sergio Sotelo
Silvino López Tovar
Teemu Oksanen
Angel Mario Téllez

WORKSHOPS
Artesanías Finas

Arturo Velasco Mota

Candido Morales Flores

Concepción Contreras

Familia Meza

Gustavo Pérez

Héctor López

Mármoles Soto Márquez

Rogelio Meza Hernández

Taller Talavera Santa Fe

Téllez Hermanos

Uriarte Talavera

Valente Sánchez Cerezo

 ONYX & MARBLE

Adan Paredes

Untitled
2000

H 71 cm., D 15 cm., W 5.590 kg.

H 61 cm., D 15 cm., W 5.310 kg.
H 50 cm., D 15 cm., W 4.560 kg.

$ 900.00 USCY
 ONYX & MARBLE

Alejandro Ramirez

Untitled
2001

H 12 cm.
D 31 cm.

We 5.140 kg.

$ 300.00 USCY
 ONYX & MARBLE

Alejandro Ramirez
Untitled
2001

H 8.5 cm.
W 32.5 cm.
L 20.5 cm.

We 2.80 kg.

$ 150.00 USCY
 ONYX & MARBLE

Anali Segal

Untitled
2001

H 50 cm.
W 5 cm.
L 7 cm.

We 3.460 kg.

$ 300.00 USCY
 ONYX & MARBLE

Carlos Blanco

Untitled
2001

H 6 cm.
D 39 cm.

We 9.470 kg.

$ 500.00 USCY
 ONYX & MARBLE

Claude Bouchard

Untitled
2000

H 10 cm.
W 26cm.
L 34.5cm.

We 3.240 kg.

$ 500.00 USCY
 ONYX & MARBLE

Claude Bouchard

Untitled
2000

H 5 cm.
W 30cm.
L 30 cm.

We 3.740 kg.

$ 400.00 USCY
 ONYX & MARBLE

German Montalvo
Untitled
1997

H 2.5 cm.
D 30 cm.

We 1.410 kg.

$ 300.00 USCY
 ONYX & MARBLE

German Montalvo

Untitled
1997

H 3 cm.
D 30 cm.

We 1.420 kg.

$ 300.00 USCY
 ONYX & MARBLE

Gustavo Pérez

Untitled
2001

H 40 cm.
D 15 cm.

We 6.050 kg.

$ 400.00 USCY
 ONYX & MARBLE

Ilona Törmikoski
Pyramides
2001

Three pieces:
H 2 cm.
W 15 cm.
L 15 cm.

We (total) 2.610 kg.

$ 120.00 USCY
 ONYX & MARBLE

Ilona Törmikoski
Wavy wall
2001

Four pieces:
H 4 cm.
W 15 cm.
L 15 cm.

We (total) 6.380 kg.

$ 150.00 USCY
 ONYX & MARBLE

Ilona Törmikoski
Hoyos de luna
2001

Three pieces:
H 2 cm.
W 15 cm.
L 15 cm.

We (total) 2.770 kg.

$ 120.00 USCY
 ONYX & MARBLE

Ivonne Domenge

Untitled
1997

H 17 cm.
W 35 cm.
L 44 cm.

We 6.200 kg.

$ 1000.00 USCY
 ONYX & MARBLE

Javier Bravo Ferreira

Untitled
2001

H 11.5 cm.
D 27.5 cm.

We 6.320 kg.

$ 250.00 USCY
 ONYX & MARBLE

Javier Bravo Ferreira

Untitled
2001

H 27 cm.
D 15 cm.

We 3.320 kg.

$ 100.00 USCY
 ONYX & MARBLE

Jesus Moctezuma

Untitled
2001

H 26.5 cm.
D 33.5 cm.

We 2.760 kg.

$ 600.00 USCY
 ONYX & MARBLE

Jesus Moctezuma

Untitled
2001

H 44.5 cm.
D 35 cm.

We 17.450 kg.

$ 800.00 USCY
 ONYX & MARBLE

Jesus Moctezuma
Untitled
2001

H 23.5 cm.
W 19 cm.
L 19 cm.

We 8.300 kg.

$ 500.00 USCY
 ONYX & MARBLE

José Meza

Untitled
2001

H 12.5 cm.
W 18 cm.
L 32.5 cm.

We 2.600 kg.

$ 100.00 USCY
 ONYX & MARBLE

Julian Villaseñor
Untitled
1997

H 13 cm.
D 20 cm.

We 2.650 kg.

$ 150.00 USCY
 ONYX & MARBLE

Julian Villaseñor
Untitled
1999

H 12.5 cm.
W 20 cm.
L 20 cm.

We 7.100 kg.

$ 150.00 USCY
 ONYX & MARBLE

María Luisa Dieppa

Untitled
1998

H 41.5 cm.
D 33.5 cm.

We 12.620 kg.

$ 2000.00 USCY
 ONYX & MARBLE

Massimo Zucchi

Untitled
2000

H 30 cm.
W 16.5 cm.
L 25 cm.

We 15.100 kg.

$ 700.00 USCY
 ONYX & MARBLE

Massimo Zucchi

Untitled
1996-97

H 59 cm.
D 26.5 cm.

We 16.100 kg.

$ 2000.00 USCY
 ONYX & MARBLE

Nestor Perkal

Untitled
2001

H 39 cm.
D 11 cm.

We 6.390 kg.

$ 400.00 USCY
 ONYX & MARBLE

Nestor Perkal

Untitled
2001

H 17 cm.
W 16 cm.
L 31 cm.

We 8.010 kg.

$ 400.00 USCY
 ONYX & MARBLE

Octavio García Rubio

Untitled
2001

H 11.5 cm.
W 11 cm.
L 35 cm.

We 2.770 kg.

$ 300.00 USCY
 ONYX & MARBLE

Pablo Kunst

Untitled
1999

H 4.5 cm.
D 50 cm.

We 7.090 kg.

$ 600.00 USCY
 ONYX & MARBLE

Pablo Kunst
Untitled
1999

H 4.5 cm.
D 50 cm.

We 7.590 kg.

$ 600.00 USCY
 ONYX & MARBLE

Pablo Kunst

Untitled
1999

H 4.5 cm.
D 50 cm.

We 7.100 kg.

$ 600.00 USCY
 ONYX & MARBLE

Paula Bello

Tetris
2001

H 128 cm.
W 56 cm.

We 10.400 kg.

$ 1000.00 USCY
 ONYX & MARBLE

Paula Bello

Bola
1997

H 5.2 cm, W 7 cm, L 18 cm, We 1.700 kg.

H 5.2 cm, W 7 cm, L 18 cm, We 1.100 kg.
H 4 cm, W 5 cm, L 7 cm, We 0.810 kg.

$ 300.00 USCY
 ONYX & MARBLE

Raymundo Sesma

Untitled
1998

H 52 cm.
D 14.5 cm.

We 4.920 kg.

$ 800.00 USCY
 ONYX & MARBLE

Raymundo Sesma

Untitled
1997

H 4 cm.
W 44 cm.
L 63 cm.

We 11.270 kg.

$ 700.00 USCY
 ONYX & MARBLE

Raymundo Sesma
Untitled
1997

H 3.8 cm.
W 38.5 cm.
L 60 cm.

We 6.890 kg.

$ 700.00 USCY
 ONYX & MARBLE

Raymundo Sesma
Untitled
1997

H 2.5 cm.
W 32 cm.
L 38.5 cm.

We 1.840 kg.

$ 300.00 USCY
 ONYX & MARBLE

Raymundo Sesma

Untitled
1997

H 2.5 cm.
W 32 cm.
L 38.5 cm.

We 1.840 kg.

$ 300.00 USCY
 ONYX & MARBLE

Raymundo Sesma

Untitled
1997

H 57 cm.
W 19 cm.
L 45 cm.

We 4.530 kg.

$ 1500.00 USCY
 ONYX & MARBLE

Raymundo Sesma
Untitled
1999

H 11, W 20, L 34.5 cm.

H 11, D 19.5 cm.
H 10, D 12.5 cm.
H 5.5, W 14, L 18.5 cm.
H 9.5, D 10.5 cm.

$ 1500.00 USCY
 ONYX & MARBLE

Ricardo de Pirro
Brick
1998

H 10.5 cm.
W 11 cm.
L 24 cm.

We 5.920 kg.

$ 50.00 USCY
 ONYX & MARBLE

Rita Galle

Untitled
1998

H 27 cm.
D 15.5 cm.

We 5.470 kg.

$ 500.00 USCY
 ONYX & MARBLE

Rita Galle

Untitled
1997

H 2 cm.
W 20 cm.
L 30 cm.

We 1.100 kg.

$ 200.00 USCY
 ONYX & MARBLE

Rita Galle

Untitled
1997

H 2.5 cm.
D 21 cm.

We 0.460 kg.

$ 150.00 USCY
 ONYX & MARBLE

Sergio Sotelo
Untitled
1998

H 28.5 cm.
W 34.5 cm.
L 34.5 cm.

We 6.700 kg.

$ 600.00 USCY
 ONYX & MARBLE

Sergio Sotelo

Untitled
1999

H 55 cm.
W 25 cm.
L 25 cm.

W 57.300 kg.

$ 2000.00 USCY
 ONYX & MARBLE

Sergio Sotelo

Untitled
1999

H 58 cm.
D 24.5 cm.

We 49.800 kg.

$ 2000.00 USCY
 ONYX & MARBLE

Silvino López Tovar

Untitled
2001

H 20 cm.
D 20 cm.

We 2.050 kg.

$ 250.00 USCY
 TALAVERA

Angel Ricardo Ricardo Ríos

Untitled
1996

H 5.5 cm.
D 41 cm.

We 2.000 kg.

$ 700.00 USCY
 TALAVERA

Betty Woodman
Untitled
1996

W 27 cm.
L 69.5 cm.

We 2.100 kg.

$ 1500.00 USCY
 TALAVERA

Betty Woodman
Untitled
1996

W 26 cm.
L 71 cm.

We 2.140 kg.

$ 1500.00 USCY
 TALAVERA

Betty Woodman
Untitled
1996

W 33.5 cm.
L 72 cm.

We 2.300 kg.

$ 1500.00 USCY
 TALAVERA

Betty Woodman
Untitled
1996

H 34 cm.
W 22 cm.
L 35 cm.

We 5.400 kg.

$ 2000.00 USCY
 TALAVERA

Carlos Luna

Untitled
1997

H 64.5 cm.
D 36 cm.

We 10.100 kg.

$ 2000.00 USCY
 TALAVERA

Carlos Villanueva

Untitled
2000

11 pieces

$ 1000.00 USCY
 TALAVERA

George Woodman

Untitled
1999

Each piece
W 12 cm.
L 12 cm.

We 10.900 kg.

28 pieces / $ 1000.00 USCY

 TALAVERA

Gerardo Zarr

Untitled
1999

H 102 cm.
D 22 cm.

We 12.700 kg.

$ 1000.00 USCY
 TALAVERA

Gerardo Zarr

Untitled
1999

H 96.5 cm.
D 20.5 cm.

We 7.400 kg.

$ 1000.00 USCY
 TALAVERA

Gerardo Zarr

Untitled
1999

H 53 cm.
D 24 cm.

We 5.400 kg.

$ 1000.00 USCY
 TALAVERA

German Montalvo

Untitled
1997

H 5.5 cm.
D 41 cm.

We 1.800 kg.

$ 700.00 USCY
 TALAVERA

Gustavo Pérez

Untitled
2000

H 20 cm.
W 7 cm.
L 20 cm.

We 1.800 kg.

$ 700.00 USCY
 TALAVERA

Jan Hendrix
Untitled
2000

H 81.5 cm.
D 48 cm.

We 20.000 kg.

$ 3000.00 USCY
 TALAVERA

Kazumasa Nagai

Untitled
1997

D 41 cm.

We 1.880 kg.

$ 700.00 USCY
 TALAVERA

Keizo Matsui

Untitled
1997

D 41 cm.

We 1.880 kg.

$ 700.00 USCY
 TALAVERA

Luis Lopez Loza

Untitled
1999

H 86.5 cm.
D 50 cm.

We 20.300 kg.

$ 5000.00 USCY
 TALAVERA

M. Suro

Untitled
1998

H 62 cm.
D 35.5 cm.

We 9.600 kg.

$ 3000.00 USCY
 TALAVERA

M. Portella

Untitled
2000

H 7 cm.
W 61 cm.
L 61 cm.

We 6.200 kg.

$ 1500.00 USCY
 TALAVERA

Miguel Castro Leñero

Untitled
1997

H 81.5 cm.
D 48 cm.

We 19.700 kg.

$ 3000.00 USCY
 TALAVERA

Miguel Castro Leñero

Untitled
1997

H 6 cm.
W 61.5 cm.
L 61.5 cm.

We 5.800 kg.

$ 1500.00 USCY
 TALAVERA

Ragazzoni
Untitled
1999

H 100 cm.
D 30 cm.

We15.900 kg.

$ 4000.00 USCY
 TALAVERA

Raymundo Sesma

Untitled
1996-97

H 20.5 cm.
W 7.5 cm.
L 17 cm.

We 0.860 kg.

$ 1000.00 USCY
 TALAVERA

Raymundo Sesma

Untitled
1996-97

H 27 cm.
W 17 cm.
L 35 cm.

We 2.860 kg.

$ 1200.00 USCY
 TALAVERA

Raymundo Sesma
Untitled
1996-97

H 33cm.
W 15cm.
L 23cm.

We 1.720 kg.

$ 1000.00 USCY
 TALAVERA

Raymundo Sesma
Untitled
1996-97

H 30.5 cm.
W 17 cm.
L 35 cm.

We 2.860 kg.

$ 1200.00 USCY
 TALAVERA

Raymundo Sesma

Untitled
1996-97

H 28 cm.
W 18.5 cm.
L 34.5 cm.

We 2.800 kg.

$ 1200.00 USCY
 TALAVERA

Raymundo Sesma

Untitled
2000

21 pieces

$ 3000.00 USCY
 TALAVERA

Roberto Turnbull
Untitled
1999

H 82 cm.
D 48 cm.

We 21.700 kg.

$ 3500.00 USCY
 TALAVERA

Sara Potter

Untitled
2000

H 13 cm.
D 43 cm.

We 3.300 kg.

$ 800.00 USCY
 SPECIAL PROJECTS

Alessandro Mendini
Jesús Moctezuma
Art & Design Mueseum
Tecali
2001

Project

$ 1000.00 USCY
 SPECIAL PROJECTS

Ana Rita Lascurain

Thermals of Tecali
Tecali
1997

Scale Model

$ 1000.00 USCY
 SPECIAL PROJECTS

Ana Rita García Lascurain

Thermals of Tecali
Tecali
1997

14 Drawings
Watercolor, ink, pencil, pastel,
pigments, colored pencils & gouache
over cotton paper

14 drawings / $ 21000.00 USCY

 SPECIAL PROJECTS

Paula Bello & Teemu Oksanen

Cementery
Tecali
2001

Project

$ 1000.00 USCY
 SPECIAL PROJECTS

Raymundo Sesma
Water tower
Tecali
2000

Scale Model

$ 1000.00 USCY
 SPECIAL PROJECTS

Richard de Pirro
School
Tecali
1998

Scale Model

$ 1000.00 USCY
 SPECIAL PROJECTS

Richard de Pirro

Hotel
Tecali
1998

Scale Model

$ 1000.00 USCY
 SPECIAL PROJECTS

Richard de Pirro

Pavillion of Contemporary Art

Tecali
1998

Scale Model

$ 1000.00 USCY
 SPECIAL PROJECTS

Selene Lazcarro
Graphic image ‘Advento, A.C.’
Tecali
1999

Thesis

$ 500.00 USCY
Adalberto Palma Gómez . Alberto Kalash . Aldo

ADVISERS
Colonetti . Alejandro Ogarino R.E. . Alessandro
Bonfanti . Alessandro Mendini . Alonso Mateo .
Ammon Barzel . Ana Rita García Lascurain . Andrea
Cancelatto . Andrea D’Castro . Angel Ricardo Ríos .
Angela Arziniaga . Anna Steiner . Armando Glyka .
Bety Woodman . Carlos Aguirre . Carlos Aranda .
Carlos Carrera . Cecilia Martínez . Chiao Chin .
Claudio Gonzáles . Diego Mora . Eduardo Merlo .
Eduardo R. Langagne . Eduardo Terrazas . Elizabeth
Castro . Enrique Jezik . Ercilia Gómez Maqueo Rojas
. Ernesto Sesma . Eugenio López Alonso . Everardo
Rivera . Ezequiel Farca . Flavio Lattuada . Franco
Origoni . Galindo Carlos Blas . George Woodman .
Gerardo Estrada . Gerardo Suter . Germán Montalvo
. Gilberto Chen . Gilda Bojardi . Ginevra Savioli .
Giorgio Upiglio . Giulio Castelli . Giuseppe Colangelo
. Gualtiero Dazzi . Guido Tucci . Guillermo Gonzáles
. Héctor Alvarez Santiago . Henry Harper . Ivonne
Amor Pálix . Jaime Contreras . Jaime García Amaral
. Jaime Nualart . Javier González . Javier de la
Macorra . Jorge López de la Barrera . José Luis
Martinez . Juan Leal Ruíz . Juan . José Díaz Infante .
Juan Luis Díaz . Karin Waisman . Laura C. Gómez .
Leoncio Salgado . Lilia Martínez . Lily Icassocer .
Lourdes Monjes . Lucilla Meloni . Lucilla Zacca .
Manuel García . Marco D’Luceti . Mario Bennedetti .
Maru Rabadan . Massimo Zucchi . Miguel Angel
Corona . Mónica Calderón . Nina Menocal . Omar
Gasca . Oscar de León Montemayor . Oscar Reyes
Retana . Osvaldo Sánchez . Osvaldo Testoni . Patricia
Mendoza . Rafael Portugal . Ricardo Viera . Richard
De Pirro . Rita Galle . Robert Punkenhofer . Rosa
Ortega . Santiago Espinoza de los Monteros . Selene
Lascarro . Serge Fouchereau . Sergio Contreras .
Tamara Kitain . Tere González Guajardo . Yolanda
Gutierrez Acosta
Gobierno del Estado de Puebla . Gobierno Municipal de Tecali .

INSTITUTIONS
Secretaría de Relaciones Exteriores SRE . Instituto Nacional de

Bellas Artes INBA . Instituto Nacional de Antropología e Historia

INAH . Consejo Nacional para la Cultura y las Artes CONACULTA

. Fondo Nacional para la Cultura y las Artes FONCA . Museo

Carrillo Gil . Museo de Chopo . Fundación Cultural José Pedro

Correilla Da Silva, Lisboa Portugal . Studio Lattuada, Milan Italia

. Edit Foto . Agencia Olimpya, Milan . Gráfica Uno, Milan . Instituto

Europeo del Diseño . Revista Interni . Pininfarina . Periódico

Síntesis . Uriarte Talavera . Fundación BBV Bancomer . Franco

Origoni & Anna Steiner, Arq. Asociados . Cerámica Contempo-

ránea « Noe Suro ‘, Guadalajara . Taller Mexicano de Gobelinos,

Guadalajara . OTTAGONO, trimestral de diseño industrial .

Universidad Nacional Autónoma de México UNAM . Universidad

Autónoma Metropolitana UAM . Galería Nina Menocal . Bankers

Trust Company . Galería Ivonne Amor Palix, Paris, Francia .

Embajadas y Consulados de México en Europa . el Gobierno del

Estado de la Brianza en Italia . Consulado General de México en

Milán . Design Forum en Finlandia . Museé des Arts Décoratifs

del Museo de Louvre . Museo Franz Mayer . Museo Tamayo .

Revista DeDiseño . Epson de México . Technomoll de México .

Américo Editores . Librerías Gandhi . Guía de Diseño Mexicana

. Juntos Actuando por la Superación, A.C . Artesanos de Tecali

Consejo Nacional para la Cultura y las Artes CONACULTA

SPONSORS
Secretaría de Relaciones Exteriores SER

Universidad Autónoma Metropolitana UAM

Gobierno del Estado de Puebla

Gobierno del Estado de la Brianza en Italia MIA

Design Forum Finland

Museo Franz Mayer

Juntos Actuando por la Superación, A.C.

Guía de Diseño Mexicana

Revista de Diseño

Epson de México

Technomoll de México

Laser Foto de Mexico

President

CREDITS
Raymundo Sesma

Vice-president and Managing Director

Ramón Sesma

Curators . Design

Mexico
Paula Bello . Alejandro Ramirez

Italy
Massimo Zucchi . Aldo Colonneti . Franco Origoni . Anna Steinner
. Amnom Barzel . Alessandro Mendini . Fulvia Mendini . Jesús
Moctezuma

France
Robin Silver Delouvrier . Nestor Perkal . Claude Bouchard

United States
Henry Harper

Curators . Contemporary Art

Mexico
Jaime Contreras . Nina Menocal

Italy
Gianni Romano . Lucilla Meloni . Paola Sega Serra Zanetti . Flavio
Lattuaga . Fiorella Lalumia

France
Yvon Amor Palix

United States
Barbara Bloeminck

Photography
Ambra Polidori . Javier González . Evelardo Rivera . Gilberto
Cheo

Graphic Design
German Montalvo . Ricardo Salas . Selene Lazcarro . Miguel
Hirata . Tullia Bassani . Ricardo Lozano . Maria Fernanda Lhez
Pigni

Architecture
Richard di Pirro . Ana Rita Lascurain

Literature
Eligio Calderón . Giuseppe Collangelo

Difussion
Laura Gómez

Music
Victor Rasgado