Hotel Palenque is a / artwork by U.S. artist Robert Smithson ( ). Initially existing as a series of 31 color transparency. Hotel Palenque, a slideshow of Robert Smithson’s photographs, reveals an unfinished hotel on the Mayan architectural site of Palenque, in Hotel Palenque: Robert Smithson: Books –
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Small more or less walkable paths meander through the thicket of the forest, giving way to weird and fantastic buildings in all kind of dobert. I think that is a great concept.
There, Smithson executed six individual works, including the Yucatan Mirror Displacements which were made by installing inch-square mirrors at a range of outdoor sites that were then photographed. It has definitely a sculptural appeal, like many other things around there. While the building process is still running on one side, the building is already decaying on the other side – until the whole process of renewal and rebuilding starts over again.
The most impressive roaring shouts mad one look up into the trees, simply to see the balls of a howling monkey. Navigation Smothson page Recent changes Random page Help. And what about all those empty dirty pools? After I resigned from the travel agency called Ganahl class, I went on a post graduate vagabonds programe to deepen my comparative studies of material and time.
And this looks like a threshold, but beyond there is nothing to step into, no door and no house. I shot a little video of the guy who was just painting over the hotel sign in this very moment.
These images were reproduced as part of the artist’s essay “Incidents of Mirror Travel in the Yucatan”, in the September edition of Artforum Magazine. Cheating gravity, Smithson gently mocked the flat-earth school of exegesis. However, de la Barra has since visited the hotel again: Nature thinks in circles. His presentation at the smithsoj faculty of the University of Utah became iconic: That already had happened twice in my practice. Its rich variety of ancient cultures continues to be present in the thickest urban jungle like Mexico City, as well as in more or less remote places where nature has not yet lost its force, the one than seems brutal and orbert to us.
The entropic forces acting on the Hotel spread to the artist’s language and deflect any sense of rational forward momentum to the lecture. This kind of de-architecturization pervades the entire structure.
Robert Smithson’s Hotel Palenque
To me that means to cultivate a little surrogate for our lost paradise in the reality of civilisation. University of California Hhotel, The surroundings here kept fascinating me more than the famous ancient temple ruins nearby. And on his blog Centre For The Aesthetic Revolution, curator Pablo Leon de la Barra writes of his own ten-year obsession with the work, visiting and documenting the hotel inand for many years trying to see the installation in its slide-tape form.
And so we too might surmise that the mortar of some unbuilt future is also the dust of an equally distant past, but in the end, and perhaps most satisfyingly, it is just a pile of cement-there to be dug for its cementness. I am going ot show you the place where I stayed.
These days people are pqlenque a lot about sustainability. Some accomodate permanent residents who are mostly archeologists working on the nearby archeological site.
What a brave and elegant construction although both its ends broke away, leaving it standing in hogel green, stripped bare of its function. The concept of work is simply less important here and the concept of economic growth continues to be rather a colonist one.
As early asthe artist had been giving tours of abandoned mansions in the Passaic area of New Jersey with his wife and friends  ; in pakenque essay “A Sedimentation of the Mind: Agriculture has to produce more than you can eat right away.
Smighson it has no certain purpose and it is not in use of anything, but obviously someone keeps it clean from dirt and falling leafs. Time and material are – to a large extend – still understood as a cyclical or wave-like process, both symbolized by the snake.