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 →

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 →

THREE BY MALEVICH

Alfredo Gurza
 
 
The dazzling Russian avant-garde exhibition at the Fine Arts Palace in Mexico City (October 22, 2015-February 7, 2016) provides a perfect opportunity to present three articles by Kazimir Malevich, the creator of suprematism, whose influence on the critical practice of the arts is perhaps greater today than it was a century ago, when the depths of his work were only beginning to be sounded. 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 →