RESISTING FOR LIFE

Alberto Híjar Serrano
 
 
If Felipe Ehrenberg (1943-2017) were still here, we would have discussed the gatherong resistance against the State’s so-called “historical truth” about Ayotzinapa, through slogans, texts, and graphic art, constantly moving not only in Mexico and the United States, but in Europe and other far-off places. The rural and popular roots of the Ayotzinapa relatives meet libertarian intelectual lucidity, bringing about a high-impact knowledge all over the world, against the systemic corruption of late capitalism. Continuar Leyendo →

Building an Utopia

Laura González Matute
 
 

This text was read on June 9, 2016, at Aula Magna José Vasconcelos, Centro Nacional de las Artes, during the presentation of the book La construcción de una utopía. Enseñanza artística en la posrevolución (Building an Utopia. Arts Education After the Revolution), Mexico, Conaculta, INBA, Cenidiap, 2015, 168 p.
Continuar Leyendo →

Boltanski. Un pueblo de fantasmas

Marie-Christine Camus
 
 
This text was read at a round table, “Incomplete traces. Identity, memory and oblivion”, on May 24, 2016, as a parallel activity to the exhibition Animitas. Christian Boltanski, Museo de Arte Contemporáneo de Monterrey, January 21 – June 5, 2016.
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A figuration of outrage

Alfredo Gurza
 
 
In June, 2015, at Café 123, Suad, an artist born in Casablanca, Morocco, residing in Mexico City since 2010, exhibited through the One Month | One Artist initiative her piece entitled Entrelazados, (Entwined), a work that distills her artistic practice, accumulated through successive purifying and deepening processes in her studious journey through Lyon, London and New York. It is also the announcement of her new domain: both as knowledge/craft and as a territory for semiotic research. Continuar Leyendo →

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A Memorial to Violence

Cristina Híjar González
 
 
A year after the forced disappearance of the 43 students of Normal Rural Raúl Isidro Burgos of Ayotzinapa, and the brutal murder of three others, the slogans of the day are:
They took them away alive, we want them back alive! The State did it! Continuar Leyendo →

Approaches to Political Graphic Art as Discourse

In the late 1970’s, Mario Benedetti wrote the poetry collection Letras de emergencia, which included a prologue under the title “Canto libre y arte de emergencia”, [“Free Song and Emergency Art”].(1) In it, he stresses the urgent need to raise one’s voice against unreason, expressly alluding to the song by Daniel Viglietti, who was at that time a political prisoner in Uruguay. I see no objection to extending the poet’s considerations to all artistic expressions raising from the terrible conjunctures of our histories. Benedetti states that someone will not fail to wonder how we can have the time and the willingness to sing, paint or dance; he points out that these expressions produce an aesthetic effect, interpellate in another way, bring us affectively closer, build a community: Continuar Leyendo →

Exhibition Morphologies. Fine Arts Palace Museum: 1934-2014

Ana Garduño
 
 
Curatorial policy at what is today known as the Fine Arts Palace Museum has always been particularly notorious when it comes to the visual arts; this is due in large measure to its status as an official art gallery. Its exhibitions have had greater cultural significance, not only in its natural area of influence, Mexico City, but also in the interior of the country. Historiographically, the success of its montages, especially those that received positive evaluations by both specialists and the general public, have even radiated over cultural capitals with a certain museistic power, above all in Latin America. Continuar Leyendo →

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43 Times Seven Months

Alberto Híjar Serrano
 
 
Certain that the State did it, commemorations rise up a notch, developing autonomies and self-governance. On Saturday the 25th, the Santo Domingo, Los Pedregales, neighborhood welcomed the Ayotzinapa parents, and as it has done every month for the past nine years, a survivor from the Acteal massacre, who is enduring an unending rehab process because of the seven bullets she received. There was delicious pozole and tamales, followed by a testimonial reflection and the report made by the neighborhood organizations. In solidarity, one of the houses now shows on its metal gate the faces of the 43. Twenty-five collective murals testify to this solidarity; some of them include portraits of the victims, their names, and their mothers bearing these testimonials. One of the murals reproduces an engraving by Arturo García Bustos, dating from over fifty years ago, with an armed Zapata pointing directly at the spectator and a sign that reads: “And what have you done to defend the conquests for which we gave our lives?” Continuar Leyendo →

Galeano

Alberto Híjar Serrano
 
 
Open Veins of Latin America rightly replaced those linear-history manuals, centered on Nation-State building and with only veiled references to colonial and imperial outrages. Official texts never mention guerrillas and bandits: they are the dirty war, a side chapter beyond presidents and laws. Continuar Leyendo →