Conaculta Inba

Carlos Amorales at MUAC: Axioms for Action (1996-2018)

Edwina Moreno Guerra
 
 
It is remarkable for a young Mexican artist like Carlos Amorales (Mexico City, 1970) to exhibit at Museo Universitario Arte Contemporáneo (MUAC).
Havig lived and trained in Europe (1990-2004), he returned to Mexico as an established artist. This exhibition showcases pieces from different and even disparate genres. The effort invested in developing each piece is apparent; spectators have to concentrate in order to fully appreciaate them. There are no distinctive marks to give the show a degree of coherence, but if we were told that this is actually a collective exhibition we would promptly believe it, because he engages with so many artistic disciplines: drawing, painting, sculpture, collage, performance, installation, sound art, cinema, writing, and other non traditional forms. Continuar Leyendo →

Guillermo Gómez-Peña, Mexican (IN)documentado

Edwina Moreno
 
 
One might say that now is “the moment” for Guillermo Gómez-Peña’s art. Looking into his life and work, one discovers that political decisions by President Trump against Mexican immigrants provide a timely space for Gómez-Peña’s artistic actions. This Mexican artist migrated to the USA when he was young; his thoughts regarding Chicanos do not stem from a political, social, or human rights perspective, not even from a conventional artistic point of view, but rather from the standpoint of a contemporary artist whose expression is both empathic and experiential, since he has felt the brunt of discrimination suffered by so many of our fellow Mexicans. Continuar Leyendo →

The Oscillation of Time

María Eugenia Garmendia Carbajal
 
 
It was just after sunrise… the clock read 7:19 when an earthquake shook Mexico City on September 19, 1985. It took just two minutes for it to destroy several buildings, taking the lives of thousands of people residing or working in the Cuauhtémoc, Venustiano Carranza, Benito Juárez, Gustavo A. Madero, Miguel Hidalgo and Coyoacán areas of the city. . It was an 8.1 magnitude earthquake, the epicenter was located in the Pacific Ocean shore, in the border between the states of Michoacán and Guerrero. The 7.6 aftershock the following evening brought down several buildings that had been structurally damaged.
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Apocalyptic, catastrophic and silent representations in contemporary Mexican painting

Adriana Zapett, Edwina Moreno y María Eugenia Garmendia
 
 
Introduction
 
 
One of the modalities of contemporary Mexican painting seems troubling to us, as it displays the self-destructive potential of human beings both individually and collectively, bearing witness to angst and hopelessness. In images of strange beauty, dealing with cruelty and the tearing apart, the injury or mutilation of the body, or perhaps the crumbling down of an imaginary space represented on canvas, the painter transforms the death drive into figurability. (1) Continuar Leyendo →

Inaugural Session of the VII Conference on Research and Documentation in the Visual Arts

Carlos Guevara Meza
 
 
Read at Aula Magna, Cenart, Mexico City, October 18, 2017
 
 
Good morning.
 
 
On behalf of the National Center for Research, Documentation and Information on the Visual Arts (Cenidiap) it is an honor to welcome you to this

VII Conference on Research and Documentation in the Visual Arts

. I appreciate the presence of the authorities of the National Arts Center (Cenart) and the General Subdirection of Arts Education and Research (SGEIA) of the National Institute of Fie Arts (INBA) who are joining us here today, as well as the participation of both the speakers and the audience, here at this conference room and through the internet. Continuar Leyendo →

El Corcito. A critical and multidisciplinary artist

Guillermina Guadarrama Peña
 
 

Art, for those who make it, is not a pleasure, it is a hard toil
involving sacrifices and great discipline. The enjoyment of art is for
the peope or the audience, who even though cannot make it, loves it, understands it and desires it. The phenomenon has been produced, and those who are bitten by this spider can never get out of its webs.
Antonio Ruiz

Continuar Leyendo →

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 →

The Community Art of Taller de Investigación Plástica

Guillermina Guadarrama Peña
 
 
The Taller de Investigación Plástica (TIP) was a multidisciplinary artistic collective born in the upheavals of the 1970’s, a time of major social movements. It was the first group to produce community art in Mexico, a kind of public art that emerged when “individualism and art for art’s sake began to be replaced by collaboration, social relevance, process and context” [1]
It was an avant-garde proposal, misunderstood at the time, arguing that the meaning of art should be found at its physical or social site, not in a museum, and it should involve its target audience, in order to turn it into a tool for social change. Continuar Leyendo →

Un mismo amor

Alberto Híjar Serrano
 
 
Without him knowing, or quoting from it, the Cannibal Manifiesto (São Paulo, 1928) gives aesthetic sense to the work of Gerardo Cantú exhibited at Museo Mural Diego Rivera under the title Un mismo amor. Vivencias y videncias. Among the phrases adroitly sprinkled here and there to accompany the works, there is one highlighted in red on the triptych that substitutes the catalogue: “with Cantú we arrive at the awkwardness of love, but love still, and perhaps a love more sincere and higher than that which the romantics exalted in their time”, says Ida Rodríguez. Continuar Leyendo →

Raquel Tibol

Alberto Híjar Serrano
 
 
The introduction to the anthology Raquel Tibol, la crítica y la militancia, published by Centro de Estudios del Movimiento Obrero y Socialista, recounts the life and miracles of the redoubtable critic, from her beginnings as a writer and journalist in her native Argentina. During a Continental Conference on Culture, promoted by Pablo Neruda in Santiago, Chile, in 1952, she met Diego Rivera and decided to accept the task of organizing the Mexican section. Her quick, efficient and clear writing style opened the path for her to join projects aimed at achieving national liberation and socialism.
Continuar Leyendo →

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Vicente Kramsky: a local photographer

Gabriela Torres Freyermuth

 
 
Vicente Kramsky was born in San Cristóbal de Las Casas, Chiapas, in 1929. His family was of German descent. His grandfather, Vicente Kramsky Bittner, arrived in Mexico in 1870 after the Mexican government had extended an invitation to foreigners to come and people the country. He soon decided to try his luck in San Cristóbal, where he met Emilia Ramos Bourdois, whom he married. They founded the La Sultana shoe factory, which became renowned in the whole region. This commercial success provided the family with great prestige and a distinguished social position. A sign of the family’s prosperity was the purchase of the country estate known as “El Tívoli”.[1] Continuar Leyendo →

Work Brings Us Together: Larrauri/Mexiac

On April 20, 2016, at Galería Víctor Manuel Contreras in Universidad Autónoma del Estado de Morelos (UAEM), campus Cuernavaca, the exhibition Work Brings Us Together. One More Time, was opened. It brought together two sets of works from two essential creators in the history of art and culture in Mexico: Moments in the History of Mexico. Illustrations by Iker Larrauri, and Illustration in the work of Adolfo Mexiac.
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SPECULAR – second series

Fictive Criticism

Alfredo Gurza

Invaluable images from the collections kept by Cenidiap, in dialogue with fabulations and inventions, free-style exercises of the imagination, as mirrors reflecting each other, revealing unexpected affinities and contrasts, interweavings beneath the surface, telling resonances. A proposal to re-circulate this heritage, in order to contribute to generating new audiences and strengthening the Center as a reference point for the national and international community of researchers, documentalists and creators. Continuar Leyendo →

SPECULAR

Fictive Criticism

ALFREDO GURZA

 

In line with Cenidiap’s essential mission to produce and foster research, documentation and information on visual arts in Mexico and the rest of the world, we present this series, where we will be periodically publishing images from the invaluable archives housed in our Center, placing them in conversation with fabulations and inventions, free-form exercises of the imagination, as mirrors in reciprocal reflection, revealing unexpected affinities and contrasts, interweavings beneath the surface, telling resonances. 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 →

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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 →

César Moro: Poetry between the Old and New Worlds

Lourdes Andrade

 

César Moro, a poet of astonishing fertility in terms of the quantity and the quality of his images, is a figure between two worlds, drawn and torn by the absolute demands of poetry and the circumstances in which he developed his work and his life, and in which he gave sense to both. Continuar Leyendo →