This happened: when the Spanish missionaries arrived to some of the northern regions in Mexico and imposed the social and economic organizational system called ¨Misiones¨, one of the mayor difficulties they faced was the establishment of the symbolic regimen of the ornament. While the colonial architecture possessed a sophisticated ornamentation adopted from Baroque and Mannerist currents, the indigenous architecture, specifically that of the Pápagos people, possessed a simplicity in their patterns and leaned more towards practicality rather than form. The scripts of Fray Marcos of Nice (1495- 1558) focused on the initial resistance from the Pápagos people in carving ornaments on to the material that could hide their essence. The Pápagos belief considered that the carved stone had to show its essential form, and be modified only the necessary amount in terms of utility. For them, carving stones with organic patterns was a way of obstructing their word and the erosion process. The Pápagos people considered the ornament to be a sole accumulation of forms with no metaphoric or allegoric content. For the missionaries, the colonial ornament was more of an economic gesture than architectonic: considering it was and empty form, its existence was solely based on accumulation. This converged with the economic model that was imposed by the colonial regimen: the production of merchandise beyond what was possible to consume. These were the beginnings of the accumulation of capital.
Miguel Fernández de Castro (Sonora, 1986) Works with long term investigation projects that involve writing and visual arts. In 2013 began the on-going project, Atlas Marginal de Geología, which explores as an allegory, geological phenomenon and processes that derive from late capitalism in the north of Mexico. His work has been shown in Casa del Lago, UNAM (2015) and Museo de Arte Moderno de México (2014), both in Mexico City; Museum of Anthropology, Vancouver (2013); Museum of Latin American Art, Los Ángeles (2013); Museo de América, Madrid (2013); ATEA, Ciudad de México (2012/2013); Bikini Wax, Ciudad de México (2013); Museo de San Ildefonso, Ciudad de México (2013); Museo de Arte Contemporáneo, Monterrey (2012); The Collaborative-MoLAA, Los Ángeles (2012); Jaus Gallery, Los Ángeles (2011); and others. Was awarded the Fonca-Jóvenes Creadores scholarship (2011-2012). Won the scholarship Tierney Fellowship, New York (2010) and the acquisition price from X Bienal Femsa (2012). In 2012 he published the book “El desplazamiento”(T-E-E, Guadalajara) and in 2014 he developed/published “A micro history of YouTube in Beirut” during his residency at Home Workspace Program in Ashkal Alwan, Beirut, Lebanon.