N OTES

Introduction

1. The following historical overview has been assembled from the following sources: Alma Guillermoprieto’s essays on in Looking for History, the Library of Congress’s Mexico: A Country Study (1997), as well as articles from Reforma and La Jornada. 2. ‘‘The 10 Most Powerful Billionaires,’’ Forbes Global (March 17, 2003), accessed at http://www.forbes.com/global/2003/0317/050.html. 3. Alma Guillermoprieto, ‘‘Loosing the Future,’’ in Looking for History: Dis- patches from (New York: Pantheon Books, 2002), 178–184. 4. ‘‘The church, and its large conservative faction that includes Posadas’s successor, Cardinal Juan Sandoval Iñiguez, has for years alleged that high- ranking officials in the Partido Revolucionario Institucional (PRI), the once all-powerful party, and the former regime of President Carlos Salinas de Gortari, plotted to have Posadas killed. They contend that the Salinas administration tried to cover up the case because it feared that the investiga- tion would reveal the government’s alleged ties with the Tijuana-based Arellano Felix drug cartel.’’ Joseph Treviño, ‘‘A Cardinal Conspiracy: Renewed Interest in an Unsolved 1993 Killing in Guadalajara,’’ LA Weekly (May 21– June 6, 2002), available online at htttp://www.laweekly.com/ink/02/28/ news-trevino.php. 5. Guillermoprieto, ‘‘Zapata’s Heirs,’’ in Looking for History, 185–206. 6. Guillermoprieto, ‘‘Whodunnit?’’ in Looking for History, 239–254; Guillermoprieto, ‘‘The Riddle of Raúl,’’ in Looking for History, 255–274. 7. Banco de México, Informe anual 1994 (: Banco de México, 1994), 154–156. 8. Carlos Monsiváis, ‘‘The Museo Salinas and the Masks of the Mexican,’’ in Vicente Razo, The Official Museo Salinas Guide (Santa Monica: Smart Art Press, 2002), 9–10. 9. Daniel Lizárraga, ‘‘Indaga Suiza cuenta de hijo de Díaz Ordaz,’’ Reforma, 9 July 1998. Unless otherwise noted, all translations are mine. 10. See the catalog El corazón sangrante: The Bleeding Heart (Boston: ICA, 1991). 11. Hal Foster, The Return of the Real (Cambridge: MIT Press, 2000). NOTES 161

12. See Kurt Hollander’s discussion of the influence of foreign artists on the Mexican scene in his text for the exhibition catalog Así está la cosa (Mexico City: Centro Cultural Arte Contemporáneo, 1997). 13. Other artists who participated in Temístocles include Damián Ortega, Melanie Smith, Fernando García, Hernán García Garza, Ulises Ponce, Miguel González Casanova, Diego Guitiérrez, Conrado Tostado, and Maria Teresa Gálvez. 14. Acné o el nuevo contrato Ilustrado (Mexico City: Instituto Nacional de Bellas Artes, 1995). 15. Coco Fusco, ‘‘Art in Mexico after NAFTA,’’ in The Bodies That Were Not Ours and Other Writings (London and New York: Routledge, 2001), 64. 16. Foster, The Return of the Real. 17. Lucy R. Lippard, ‘‘The Dematerialization of Art,’’ in Changing: Essays in Art Criticism (New York: E. P. Dutton and Co., 1971), 255. 18. Edward J. Sozanski, ‘‘Mexico Shines in Survey of Its Current Art Scene,’’ The Philadelphia Inquirer, 21 September 2003. 19. Parachute 104 (October–December, 2002); FlashArt 225 (July–September, 2002); Rim (March 2003); Felix (July 2003). 20. Osvaldo Sánchez, et al., La colección Jumex (Mexico City: Carrillo Gil, 1999). 21. Mary Schneider Enríquez, ‘‘Silvia Pandolfi: History and High Tech,’’ ARTnews (April 1996): 126. 22. Shifra M. Goldman, Dimensions of the Americas: Art and Social Change in Latin America and the (Chicago: University of Chicago Press, 1994), 273. 23. Itala Schmelz, personal communication with author, August 20, 2002. 24. Cuauhtémoc Medina, ‘‘El ojo breve / Viajeros frecuentes,’’ Reforma, 25 September 2002. 25. Elisabeth Malkin, ‘‘Mexico Is Warned of Risk from Altered Corn,’’ New York Times, 13 March 2004, A5. 26. Klaus Biesenbach, ed., Mexico City: An Exhibition about the Exchange Rates of Bodies and Values (New York: P.S.1 Contemporary Art Center; Berlin: Kunst Werke, 2002), 32. 27. , El laberinto de la soledad (Mexico City: Fondo de Cultura Económica, 1993), 314–317.

Chapter One

1. Pablo Soler Frost, Cartas de Tepoztlán (Mexico City: Ediciones Era, 1997). Hugo Diego Blanco, Tinta china (Mexico City: Ediciones Heliópolis, 1995). 2. Edward Said, Orientalism (New York: Vintage Books, 1978), 343. 3. Ibid., 144–145. 4. Julia A. Kushigian, Orientalism in the Hispanic Literary Tradition: in Dialogue with Borges, Paz, and Sarduy (Alburquerque: University of New Mexico Press, 1991), 1. 5. Ibid., 3. 162 NEW TENDENCIES IN MEXICAN ART

6. Said, Orientalism, 5. 7. Olived Dunn and James E. Kelley, eds., The Diario of Christopher Columbus’s First Voyage to America 1492–1493 (Norman and London: University of Oklahoma Press, 1989), 109. 8. Eliot Weinberger, an insightful critic of Mexican orientalism, gives the following account of the San Felipe story: ‘‘The Shogun, having reluctantly permitted Christian missionaries in Nagasaki, now believes they are the cause of a recent earthquake. Felipe and twenty-six other priests are crucified by Samurai. At that moment, back in Mexico, the dried branch of a fig tree in the family’s patio are suddenly covered with leaves.’’ Eliot Weinberger, ‘‘Paz in Asia,’’ in Outside Stories, 1987–1991 (New York: New Directions, 1992), 24. 9. The following are among the few historical studies of anti-Chinese sentiment in Mexico: Humberto Monteón González and José Luis Trueba Lara, eds., Chinos y antichinos en México: documentos para su historia (Guadalajara: Gobierno de Jalisco, Secretaría General, Unidad editorial, 1988); José Jorge Gómez Izquierdo, El movimiento antichino en México (1871–1934): problemas del racismo y del nacionalismo durante la Revolución Mexicana (Mexico City: Instituto Nacional de Antropología e Historia, 1991); Juan Puig, Entre el río Perla y el Nazas: la china decimonónica y sus braceros emigrantes, la colonia china de Torreón y la matanza de 1911 (Mexico City: Consejo Nacional para la Cultura y las Artes, 1993). 10. José Juan Tablada, Poesía, vol. 1 of Obras, (Mexico City: Universidad Nacional Autónoma de México, Centro de Estudios Literarios, 1971), 402. 11. I thank Asa Satz for translating Tablada’s poem for this book. 12. Tablada, Obras, 1:392. 13. Weinberger, ‘‘Paz in Asia,’’ 27. 14. In the past, orientalist scholars were often accomplices to imperialist designs against the very people to whose culture they devoted their studies. Said writes that ‘‘there is a remarkable (but nonetheless intelligible) parallel between the rise of modern Orientalist scholarship and the acquisition of vast European Empires by Britain and France.’’ Said, Orientalism, 343. 15. Lombardo Toledano, Diario de un viaje a la China nueva (Mexico City: Ediciones Futuro, 1950), 132. 16. Weinberger, ‘‘Paz in Asia,’’ 17–45. 17. Eliot Weinberger has written a very poetic version of the china poblana story: ‘‘In the seventeenth century some six-hundred Asian immigrants arrive each year to Mexico. One of them is a twelve-year-old Mogul princess of Delhi, who was kidnapped by pirates off the Malabar Coast. Sold in the Manila slave market, she is shipped to Acapulco and sold again to a pious couple from Puebla. Under the religious training of her owners, she soon becomes famous as an ascetic and mystic. She is known as Catarina de San Juan, la china poblana. Many miracles are attributed to her.’’ Ibid., 25. NOTES 163

18. Barthes, The Empire of Signs (New York: Hill and Wang, 1982), 3–4. 19. Teresa del Conde, Historia minima del arte mexicano en el siglo XX (Mexico City: Universidad Nacional Autónoma de México, 1994), 38–39. 20. For more on neo-Mexicanism, see Sullivan, Aspects of Contemporary Mexican Painting (New York: Americas Society, 1990). 21. Olivier Debroise calls this phenomenon ‘‘a cultural nostalgia sui generis.’’ He writes that, ‘‘although the search for idiosyncratic roots by Mexican-American artists from Texas and by the Chicanos and Cholos of California may be easily understood, it is more difficult to grasp the motives of certain North- American artists like Michael Tracy, Ray Smith, and, to a lesser extent, Terry Allen and Jimmie Durham, who seem to have rejected the canons of the New York mainstream in order to place their work within the parameters of contemporary art in Mexico.’’ Olivier Debroise, ‘‘Heart Attacks: On a Culture of Missed Encounters and Misundertandings,’’ in El corazón sangrante / The Bleeding Heart (Boston: Institute of Contemporary Art, 1991), 39. 22. David A. Greene, ‘‘Yishai Jusidman and the Reenchantment of Painting,’’ in Investigaciones pictóricas / Pictorial Investigations (Cuernavaca: Instituto de cultura de Morelos, 1995), 48. 23. David Miklos and Mario Bellatín, eds., Una ciudad mejor que ésta: antología de nuevos narradores mexicanos (Mexico City: Tusquets, 1999).

Chapter Two

1. Nico Israel, ‘‘Daniela Rossell: Greene Naftali,’’ Artforum (April 2000): 143–44. 2. Teresa del Conde, ‘‘Valencia: Bienal y diálogos II,’’ La jornada, 1 July 2001. 3. Holland Cotter, ‘‘Art in Review: Daniela Rossell,’’ New York Times, 26 April 2002. 4. Daniela Rossell, Ricas y famosas (Madrid: Turner, 2002). 5. Juan Villoro, ‘‘Ricas, famosas y excesivas,’’ El país semanal 1341 (June 9, 2002): 42–50. 6. Lorenzo Meyer, ‘‘Agenda ciudadana: el otro México profundo,’’ Reforma, 12 June 2002. 7. Klaus Biesenbach, Mexico City: An Exhibition about the Exchange Rates of Bodies and Values (New York: P.S.1 Contemporary Art Center; Berlin: Kunst Werke, 2002), 34. 8. Marcela García Machuca, ‘‘Me interesa documentar cómo viven,’’ interview with Daniela Rossell, Reforma, 28 July 2002. 9. Marcela García Machuca and Ernesto Sánchez, ‘‘Exponen a mexicanas y sus lujos,’’ Reforma, 28 July 2002; ‘‘Exhibe galleria de Nueva York a ricas y famosas mexicanas,’’ Reforma, 28 July 2002. 10. Lorenzo Meyer, ‘‘Agenda ciudadana: Escándalo,’’ Reforma, 22 August 2002. 11. César Güemes, ‘‘En Ricas y famosas de Daniela Rossell, el dinero sólo es la mitad de la Mirada,’’ La jornada, 30 August 2002. 164 NEW TENDENCIES IN MEXICAN ART

12. Edgar Alejandro Hernández, ‘‘Ofende a Díaz Ordaz que publiquen sus fotos,’’ Reforma, 30 August 2002. 13. Gaby Vargas, ‘‘Genio y figura: Ricas y famosas,’’ Reforma, 1 Septem- ber 2002. 14. Dallia Carreño, ‘‘Orgullosa de ser . . . ¡rica y famosa!’’ Reforma, 29 August 2002. 15. Hernández, ‘‘Ofende a Díaz Ordaz.’’ 16. Daniela Rossell, ‘‘Aclara Rossell relación con Díaz Ordaz,’’ Reforma, 3 September 2002. 17. Antonio Jáquez, ‘‘Autorretrato de la decadencia,’’ Proceso 1349 (September 8, 2002): 10–19. 18. Guadalupe Loaeza, Las niñas bien (Mexico City: Cal y arena, 1990); and Compro, luego existo (Mexico City: Alianza editorial, 1993). 19. Guadalupe Loaeza, ‘‘Cursis y escandalosas,’’ Reforma, 10 September 2002. 20. Cuauhtémoc Medina, ‘‘El ojo breve: Mundos privados, ilusiones públicas,’’ Reforma, 11 September 2002. 21. Jo Tuckman, ‘‘Outrage as Mexico’s Super-rich Flaunt Their Tacky Life- styles,’’ The Observer, 15 September 2002. 22. ‘‘Photos of Wealthy Mexicans Prompt Outrage,’’ CNN, 22 September 2002. 23. Guadalupe Loaeza, ‘‘Por los suelos,’’ Reforma, 26 September 2002. 24. Ibid. 25. Ginger Thompson, ‘‘The Rich, Famous, and Aghast: A Peep-Show Book,’’ New York Times, 25 September 2002, A2. 26. Julieta Riveroll, ‘‘Rinden homenaje a Rossell a la ‘vieja usanza,’’’ Reforma, 11 November 2002. 27. Larry Clark, Tulsa (New York: Grove Press, 2000); Nan Goldin, The Other Side: 1972–1992 (Zurich: Scalo Verlag, 2000). 28. Larissa MacFarquhar, ‘‘Photographs: Theater of Manners by Tina Barney,’’ Bookforum (spring 1998): 3, 6. 29. Tina Barney, Friends and Relations (Washington and London: Smithsonian Institution Press, 1991), 6–8. 30. David Rimanelli, ‘‘People like Us: Tina Barney’s Pictures,’’ Artforum (Octo- ber 1992): 70–73. 31. Daniel Lizárraga, ‘‘Indaga Suiza cuenta de hijo de Díaz Ordaz,’’ Reforma, 9 July 1998. 32. The author takes Mexico’s Green Party as a case study, noting that ‘‘during the midterm elections last year, it received an average of more than $100,000 a day in public funds—more than $30 million—making it one of the richest Greent parties in the world.’’ Ginger Thompson, ‘‘Color It Green, and See How It Fills Politicians’ Pockets,’’ New York Times, 10 March 2004, A4. 33. The inscription reads: ‘‘Para Don Manuel Suárez, con la más grande [unread- able] Siqueiros, 3–24-68’’ [‘‘for Don Manuel Suárez, with the greatest . . . Siqueiros, 3–24-68’’]. NOTES 165

34. Fabrizio Mejía Madrid narrates the history of the Hotel de México in ‘‘Insurgentes en días lluviosos,’’ in Pequeños actos de desobediencia civil (Mexico City: Cal y arena, 1996), 63–140. 35. Leah Ollman expands on Benjamin’s fears: ‘‘Worker photographers and especially the editors of the AIZ [Worker’s Illustrated Journal] recognized the malleability and ambiguity of photographs and the subsequent need to direct their meaning through photo-sequences and photo-text combina- tions.’’ Leah Ollman, Camera as Weapon: Worker Photography between the Wars (San Diego: The Museum of Photographic Arts, 1991), 25. 36. Walter Benjamin, ‘‘The Work of Art in the Age of Its Technological Reproducibility (Second Version),’’ in Selected Writings, vol. 3, edited by Howard Eiland and Michael W. Jennings (Cambridge: Harvard University Press, 2002), 108. 37. Benjamin, ‘‘A Small History of Photography,’’ in One-way Street, and Other Writings, translated by Edmund Jephcott and Kignlsey Shorter (London: New Left Books, 1979), 256. See also ‘‘Little History of Photography,’’ in Selected Writings, vol. 2, edited by Howard Eiland, Michael W. Jennings, et al. (Cambridge: Harvard University Press, 2002), 527. Jephcott and Shorter use the term ‘‘caption,’’ but Eiland and Jennings translate the German term as ‘‘inscription.’’ 38. Haacke’s Manet-Projekt ’74 (1974) traced the acquisition history of Manet’s Bunch of Asparagus (1880), a painting that was owned by a wealthy Jewish family, seized by Nazi officials, and eventually sold to a prestigious German museum; Rossell could have presented a similar history of the Siqueiros paintings and other famous works that appear in her photographs. For a discussion of Haacke’s critique of art institutions, see Rosalyn Deutsche, ‘‘Property Values: Hans Haacke, Real Estate, and the Museum,’’ in Evictions: Art and Spatial Politics (Cambridge: MIT Press, 1996). 39. Carlos Fuentes, Where the Air Is Clear (New York: Farrar, Straus and Giroux, 1960).

Chapter Three

1. ‘‘Radio Pirata XCH—Sin Permiso’’ began broadcasting in 1995 from the southern district of Coyoacán on 92.1 FM. The station had a modest power output ranging between 5 and 10 watts. 2. This lack of interest in radio is a recent phenomenon. Mexican artists of the 1920s were fascinated by radio, and they devoted poems, essays, paintings, and drawings to the new invention. 3. Taniel Morales, Sin cabeza—Necropsia, Audio CD, Mexico City, 1999, track 3. All quotes from Sin cabeza are courtesy of the artist. 4. Antonin Artaud, ‘‘To Have Done with the Judgment of God [1947],’’ in Antonin Artaud: Selected Writings, edited by Susan Sontag, translated by Helen Weaver (New York: Farrar, Straus and Giroux, 1976), 570–571. 166 NEW TENDENCIES IN MEXICAN ART

5. Morales, Sin cabeza, track 6. 6. Ibid., track 8. 7. Ibid., track 24. 8. ‘‘Please tell the honorable about your diet / Uhm . . . I eat twinkies and coca cola . . . and coca cola . . . and also a ham sandwich with a bit of avocado sometimes.’’ 9. Arnheim, Radio (London: Faber and Faber, 1936), 265. 10. Georges Duhamel, In Defense of Letters (New York: Graystone Press, 1939), 30, 35. 11. Marinetti devotes a section to ‘‘The Wireless Imagination’’ in his ‘‘Technical Manifesto of Futurist Literature,’’ in Marinetti: Selected Writings, edited by R. W. Flint (New York: Farrar, Straus and Giroux, 1972); Apollinaire’s ‘‘Lettre-Océan’’(1914) is based on a radiotelegraphic communication sent by the poet’s brother from Mexico. Guillaume Apollinaire, ‘‘Lettre-Océan,’’ in Œuvres poétiques (Paris: Gallimard, 1956), 183–185. 12. Salvador Novo, ‘‘Radioconferencia sobre el radio,’’ Antena 2 (August 1924): 10; reprinted in El Universal Ilustrado 399 (January 1, 1925): 4–5; anthologized in Toda la prosa (Mexico City: Empresas Editoriales, 1964). 13. ‘‘With an army of rancheros / composed of ten strapping fighters and riding a frisky nag / for which reins are useless / Guadalupe la chinaca goes in search of Pantaleon.’’ Amado Nervo, ‘‘Guadalupe,’’ in Poesías completas (Barcelona: Teorema, 1982), 269–271. 14. Luis Quintanilla, Radio: poema inalámbrico en trece mensajes (Mexico City: Editorial Cultura, 1924). Reprinted in Luis Mario Schneider, ed., El Estridentismo o una literatura de la estrategia (México City: Consejo Nacional para la Cultura y las Artes, 1997). 15. ‘‘Is it true that Zapata said that the earth belongs to those who work it because he was an alien? / He wanted to take away the earth to outer space.’’ 16. Arnheim, Radio, 232–233. 17. Velimir Khlebnikov, ‘‘The Radio of the Future,’’ in Snake Train: Poetry and Prose, edited by Gary Kern (Ann Arbor: Ardis, 1976), 238. 18. ‘‘I run, I get on, I get on again, Universidad, Copilco, Miguel Angel de Quevedo, I walk, I walk, I keep on walking, Viveros, Coyoacán, Zapata, I trip, División del Norte, Eugenia, Etiopía, I stop, Centro Medico, I change trains, Lázaro Cárdenas, Chabacano, Jamaica, Mixuca, Unidad deportiva, Puebla, Pantitlán, . . . I change trains, I climb in, I run, I fly, I rush, I go on, Rosario, Aquiles Serdán, Camarones, Tacuba, I fall asleep, I dream, San Joaquín, Polanco, Auditorio, Constituyentes, Tacubaya, San Pedro de los Pinos, San Antonio, Mixcoac, Barranca del Muerto, I get woken up, I get off, I take a bus, it’s packed, Taxqueña, General Anaya, Ermita, Portales, Natitivitas, Villa de Cortés, Xola, Viaducto, Chabacano, San Antonio Abad, Pino Suárez, I get pushed, make room, I get squashed, . . . Obervatorio, Tacubaya, Juanacatlán, Chapultepec, Sevilla, Cuauhtémoc, Balderas, Salto del Agua, Isabel la Católica, Pino Suarez, La Candelaria, San Lázaro, Moctezuma, Balbuena, Aeropuerto, NOTES 167

Gómez Farias, Zaragoza, Pantitlán, I change trains, I get off, I get on, I scream ‘AAAAAAAHHHH.’ I get off and I take a cab.’’ Morales, Sin cabeza, track 10. Italics mine for emphasis. 19. Arnheim, Radio, 232. 20. ‘‘Make a deep incision on the left side of the chest. Insert your hand into the slit. Break the thorax to pieces without hesitation. Extract the dead heart. Observe it. Lick it. Smell it. Press the sinoventricular nodule between your fingers.’’ 21. Morales, Sin cabeza, track 20. 22. Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis: Hackett Publishing Company, 1987), 200. 23. ‘‘We want,’’ said Goebbels in this crucial speech, ‘‘a radio that reaches the people, a radio that is an intermediary between the government and the nation, a radio that also reaches across our borders to give the world a picture of our life and our work.’’ Josef Goebbels, ‘‘Der Rundfunk als achte Großmacht,’’ Signale der neuen Zeit. 25 ausgewählte Reden von Dr. Josef Goebbels (Munich: Zentralverlag der NSDAP, 1938), 197–207. 24. Artaud, ‘‘To Have Done with the Judgment of God,’’ 570–571. 25. Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophre- nia (Minneapolis: University of Minnesota Press, 1983), 8. 26. Jaime Sánchez Susarrey, ‘‘Ingobernabilidad,’’ Reforma, 10 August 2002. 27. Allen S. Weiss, Phantasmic Radio (Durham: Duke University Press, 1995). 28. ‘‘And the ocean seems small enough to drink it in a sip.’’ 29. Juan Villoro, ‘‘La ciudad es el cielo del metro,’’ Número 10 (June–August 1996): 43–46. 30. ‘‘The air belongs to those who work it.’’ 31. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura Económica, 1993), 318.

Chapter Four

1. Salvador Novo, Nueva grandeza mexicana: Ensayo sobre la ciudad de México y sus alrededores en 1946 (Mexico City: Editorial Hermes, 1946), 23. 2. Marshall Berman, All That Is Solid Melts into Air (New York: Penguin Books, 1982), 6–7. 3. Rem Koolhaas, S, M, L, XL (New York: Monacelli Press, 1995), 1249–50. 4. Analysts estimate that the informal sector of the economy ‘‘represents from 30 to 40 percent of the urban workforce in the mid-1990s . . . They face considerable job instability, and, unlike those in the formal sector, are effectively excluded from IMSS [health insurance] benefits. The informal sector includes street vendors, domestic servants, pieceworkers in small establishments, and most construction workers.’’ Mexico: A Country Study (Washington D.C.: Library of Congress, 1997). 5. ‘‘Tal como lo recomendó Rudolph Giuliani,’’ Reforma, 21 August 2003. 168 NEW TENDENCIES IN MEXICAN ART

6. See Alejandra Bordón, ‘‘Limpia de ambulantes el DGF al Eje Central,’’ Reforma, 12 September 2003; ‘‘Toman ambulantes el centro,’’ Reforma, 16 September 2003. 7. Arturo Páramo, ‘‘Usan como tendedero edificios históricos,’’ Reforma, 13 September 2003. The author accuses vendors of nailing tarpaulins to the walls of historic buildings: Every day, he argues, their actions hurt about 400 buildings. 8. Enrique Krauze, ‘‘Cara y cruz de la Ciudad de Mexico,’’ Reforma, 14 September 2003. 9. See Francis Alÿs, Walks / Paseos (Mexico City: Museo de Arte Moderno, 1997) and Francis Alÿs, The Prophet and the Fly (Madrid: Turner, 2003). 10. Alma Guillermoprieto, ‘‘Mexico City, 1990,’’ in The Heart That Bleeds (New York: Alfred A. Knopf, 1994), 55. 11. Harper Montgomery, ‘‘Francis Alÿs’s Modern Procession,’’ Projects 76 (New York: Museum of Modern Art, 2002). 12. Though this piece took place in Stockholm, it can be read as an effort by the artist to perform an allegory of the experience of impoverished Mexicans for an international art audience. 13. José Joaquín Blanco, ‘‘Una limosna para la Diana,’’ in Álbum de pesadillas mexicanas (Mexico City: Era, 2002), 9–14. 14. Cuauhtémoc Medina, ‘‘Zones de Tolérance: Teresa Margolles, SEMEFO et (l’) au-delà / Zones of Tolerance: Teresa Margolles, SEMEFO and Beyond,’’ Parachute 104 (October-December 2001): 50–52. 15. Carlos Monsiváis, ‘‘La hora del transporte. El metro: viaje hacia el fin del apretujón,’’ in Los rituales del caos (Mexico City: Era, 1995), 111–113. 16. Yazmín Juandiego, ‘‘Critican con arte al neoliberalismo,’’ Reforma, 6 July 2000. 17. Frédéric Rouvillois, ‘‘Utopia and Totalitarianism,’’ in Utopia: The Search for the Ideal Society in the Western World, edited by Roland Schaer et al. (New York: New York Public Library, 2001), 316. 18. Georges Bataille, ‘‘La notion de dépense,’’ La part maudite (Paris: Éditions de Minuit, 1967), 28. All translations from the French are mine unless otherwise indicated. 19. Ibid., 32. 20. Cuevas has used this ‘‘Trojan horse’’ strategy in recent works that straddle the line between political activism and experimental art. Del Montte (2002) consists of a series of labels modeled after the stickers found on Del Monte bananas. Though her piece masquerades as a corporate marketing device, Cuevas writes a mock advertisement to expose the transnational company’s less-than-stellar labor practices: One of her texts, for example, reads ‘‘Guate- mala / Del Montte Criminal / Struggles for Land.’’ 21. Rosa Martínez, Santiago Sierra: Pabellón de España, 50a Bienal de Venecia (Madrid: Turner, 2003), 116. I modified the English given in Martínez’s book to make it more grammatically accurate. NOTES 169

22. See Jorge Ibargüengoitia, Instrucciones para vivir en México (México City: Joaquín Mortiz, 1990). 23. José Joaquín Blanco, ‘‘Panorama bajo el puente,’’ in Función de medianoche (Mexico City: Era, 1981), 62–65. 24. Martínez, Santiago Sierra, 63. I modified the English given in Martínez’s book to make it more grammatically accurate. 25. Santago Sierra, ‘‘465 Compensated People’’ (Rufino Tamayo, Sala 7, México City, October 1999). 26. Santiago Sierra, ‘‘Person compensated to shine, without permission, the shoes of guests attending an opening’’ (ACE, Mexico City, March 2000). All page numbers for Sierra’s works refer to Martinez’s Santiago Sierra. 27. Santiago Sierra, ‘‘3 People Paid to Lie Still Inside 3 Boxes During a Party’’ (Vedado, Havana, Cuba, November 2000), 44; Santiago Sierra, ‘‘Ten People Paid to Masturbate’’ (Tejadillo Street, Havana, Cuba, November 2000), 126; Santiago Sierra, ‘‘10-Inch Line Shaved on the Heads of Two Junkies Who Received a Shot of Heroin as Payment’’ (302 Fortaleza Street. San Juan, Puerto Rico, October 2000), 121. 28. Santiago Sierra, ‘‘30 cm Line Tattooed on a Compensated Person’’ (Regina 51, May 1998), 117; Santiago Sierra, ‘‘133 People Paid to Have Their Hair Dyed Blond’’ (Arsenale, Vence, Italy, June 2001), 123; Santiago Sierra, ‘‘11 People Paid to Learn a Phrase’’ (Casa de la Cultura de Zinacatán, México, March 2001), 139. 29. ‘‘They want a servant, a bath attendant, a toilet cleaner, and a human syringe . . . damn life.’’ Ricardo Garibay, ‘‘Milusos,’’ in Novela, uno, vol. 2 of Obras reunidas (Mexico City: Océano, 2002), 282. 30. Martínez, Santiago Sierra, 47. 31. Ibid, 17. I modified the English given in Martínez’s book to make it more grammatically accurate. 32. Cuauhtémoc Medina, ‘‘El ojo breve / Keynes en Polanco,’’ Reforma, 17 May 2000. 33. Coco Fusco, ‘‘Art in Mexico after NAFTA[1994],’’ in The Bodies That Were Not Ours and Other Writings (London and New York: Routledge, 2001), 76. 34. Adriano Pedrosa, ‘‘Santiago Sierra,’’ in Cream 3 (London: Phaidon Press, 2003). 35. Sigmund Freud, An Outline of Psychoanalysis. The Standard Edition of the Complete Psychological Works of Sigmund Freud, translated James Strachey (London: Hogarth Press, 1953–1974), 23:176. Hereafter S.E. 36. Jean Laplanche and J. B. Pontalis, Language of Psycho-analysis (London: Hogarth Press, 1973). 37. Freud, ‘‘Remembering, Repeating, and Working-Through,’’ S.E., 12:151. 38. Teresa Margolles, personal communication with author, October 12, 2003. 39. In collaboration with SEMEFO, Margolles retrieved the coffin from one of the city’s cemeteries, the Panteón francés. The artist explains that when families neglect their funeral plots for a number of years, the cemetery 170 NEW TENDENCIES IN MEXICAN ART

exhumes the grave, transfer the remains to a common grave, and throws the casket in the garbage (Margolles, personal communication with author, October 12, 2003). 40. This piece, done in collaboration with SEMEFO, was exhibited in the show ‘‘Accionismo,’’ held at Art & Idea in Mexico City, 1996. Margolles ex- plained that the city morgue donates bodies that are never claimed to the city’s medical schools, where they are used for anatomy lessons. In some schools, the corpses are boiled in metal drums to produce a clean skeleton. The artist obtained the used drums through an ingenious ruse: She donated a set of new metal containers to the medical school. The old ones were thrown in a dumpster, and the artist merely retrieved them before the garbage truck (Margolles, personal communication with author, October 12, 2003). 41. This piece was shown in ‘‘Doméstica,’’ a day of ‘‘open studios’’ in Condesa curated by Tomás Ruiz Rivas in 1998. 42. Margolles produced some of these works as an individual artist, others as a member of the aptly named artists’ collective SEMEFO. 43. SEMEFO, Lavatio corporis (Mexico City: Museo de arte contemporáneo Alvar y Carmen T. Carrillo Gil, 1994). 44. Upon approaching the metal drums, many visitors to the exhibition Accionismo expressed their disappointment that ‘‘there was nothing there.’’ (Margolles, personal communication with author, October 12, 2003). 45. Quoted in Alma Guillermoprieto, ‘‘The Riddle of Raúl,’’ in Looking for History: Dispatches from Latin America (New York: Pantheon Books, 2002), 256–257. 46. Ibid., 273–274. 47. Alma Guillermoprieto, ‘‘Letter from Mexico: A Hundred Women,’’ The New Yorker (September 29, 2003): 82–93. 48. Ibid., 86. 49. Ibid., 92. 50. Servicio Médico Forense, Informe Anual (Mexico City, 2000). 51. Margolles, personal communication with author, October 12, 2003. 52. Hollier, ‘‘Surrealist Precipitates: Shadows Don’t Cast Shadows,’’ October 69 (summer 1994): 111–32. 53. Georges Bataille, L’Erotisme (Paris: Éditions de minuit, 1970), 50. 54. Medina, ‘‘Zones de tolerance,’’ 46–48. 55. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura Económica, 1993), 63. 56. In 1999 the university counted 269,516 students and 29,795 academics. See ‘‘Población escolar’’ and ‘‘Personal académico,’’ Agenda estadística (Mexico City: Univesidad Nacional Autónoma de México, 1999). 57. Celia Esther Arredondo Zambrano, ‘‘Modernity in Mexico: The Case of the Ciudad Universitaria,’’ in Modernity and the Architecture of Mexico, edited by Edward R. Burian (Austin: University of Texas Press, 1997), 92. NOTES 171

58. The plan for the university, writes Valerie Fraser, ‘‘was influenced by the Le Corbusian ideas of the CIAM’s 1933 Charter of Athens [and its] utopian declaration.’’ Fraser, Building the New Mexico: Studies in the Modern Archi- tecture of Latin America, 1930–1960 (New York, London: Verso, 2000), 66. 59. Guillermo Sheridan, Allá en el campus grande (Mexico City: Tusquets Editores, 2000), 96–97. 60. ‘‘Can I drive to my office? / It’s closed here. Go to the main entrance / The main entrance is six kilometers away and my office is just ahead / And what do you expect me to do? / To use your common sense and let me through / No / Look, I realize that I’m just a lowly academic and that you’re a very important employee, but please, let me through / No / Why not? / Cause I said no / Why don’t you use your walkie-talkie to call the main office and see if they let me go through? / No / Why not? / Cause the walkie-talkie is for emergencies / And if I get a heart attack, do I qualify as an emergency? / Uh huh / Look: I’m having a heart attack / I don’t believe you.’’ Ibid., 44. 61. Ibid., 45. 62. Elena Poniatowska, Massacre in Mexico, translated by Helen R. Lane (Co- lumbia and London: University of Missouri Press, 1992), 290.

Chapter 5

1. Instituto Nacional de Estadíastica, Geografía e Informática, Institutio Mexicano de Cinematografía, Instituto Nacional de la Senectud, Instituto Nacional de la Juventud, Instituto Nacional Indigenista. 2. Consejo Nacional de la Fauna, Consejo Nacional Agropecuario, Consejo Nacional para la Prevención y Control del SIDA en México (CONASIDA). 3. Comisión Federal de Electricidad, Comisión Federal de Telecomunicaciones, Comisión Federal de Competencia. 4. Asociación Nacional de Actores (ANDA), Asociación Nacional de Porristas, Asociación Nacional de Matadores de Toros y Novillos de México, Asociación Nacional de Cunicultores de México. 5. See ‘‘Santos, amuletos y pistolas ‘regalos’ para el Museo del Narco,’’ El imparcial, 1 June 2002. 6. André Malraux, The Museum without Walls, trans. Stuart Gilbert and Francis Price (Garden City, N.Y.: Doubleday, 1967). 7. Theodor Adorno, ‘‘Valéry Proust Museum,’’ in Prisms (Cambridge: MIT Press, 1981), 182. 8. Douglas Crimp, On the Museum’s Ruins (Cambridge: MIT Press, 1993), 52. 9. Octavio Paz, El laberinto de la soledad (Mexico City: Fondo de Cultura Económica, 1993), 316. 10. Ibid., 317. 11. Vicente Razo, The Official Museo Salinas Guide (Santa Monica: Smart Art Press, 2002), 64. 12. Ibid., 35–38. 172 NEW TENDENCIES IN MEXICAN ART

13. Prado explains that the name ‘‘Aurora Boreal’’ came from a short dialogue found in a novel by the Spanish writer Jardiel Poncela: ‘‘¿Conoces la Aurora Boreal?’’ asks a character. ‘‘Yo no conozco poetisas venezolanas,’’ responds the other. Prado, personal communication with author, September 1, 2003. 14. Gustavo Prado, untitled talk given at the symposium ‘‘Políticas de identidad cultural: arte e identidad sexual,’’ X-Teresa, Mexico City, 1999. 15. ‘‘Aurora,’’ explains Gustavo Prado, ‘‘was a tele-suppository aimed at cura- tors; it had all the right elements [to make her work a hit in the art world]: 1) gender identity; 2) a pastiche of foreign work (equal doses of Yasumasa Morimura and Cindy Sherman); 3) the appropriation of others’ work; 4) it looked trendy.’’ Prado, untitled talk presented at X-Teresa. 16. Gustavo Prado, personal communication with author, September 1, 2003. 17. Gustavo calls his museum ‘‘una megainstalacionsota . . . un pequeño museo personal, con un cuarto para los recuerdos y otro para los demonios’’ [‘‘a huge megainstallation . . . a small personal museum with a room for memories and another one for demons’’]. Elsewhere he writes: ‘‘mi departamento es una recreación culterana de las casas de esas señoras de la colonia escuadrón 201, o chance como me dijo un amigo: ‘es la casa de interés social que le regalaría el Marqués de Sade a su mamá.’’’ [‘‘my apartment is a cultish recreation of a house of some lady from Colonia Escuadrón 201, or, as a friend once said, ‘it is the public housing project that the Marquis de Sade would give to his mother’’’]. Gustavo Prado, ‘‘El ,’’ unpublished text, Mexico City, 2002. 18. Miguel Calderón, personal communication with author, August 20, 2003. 19. Ibid. 20. See the articles in Reforma, 7 January 1999. W ORKS CITED

Adorno, Theodor. Prisms. Cambridge: MIT Press, 1981. Alÿs, Francis. Walks / Paseos. Mexico City: Museo de Arte Moderno, 1997. ———. The Prophet and the Fly. Madrid: Turner, 2003. Arnheim, Rudolf. Radio. London: Faber and Faber, 1936. Arredondo Zambrano and Celia Esther. ‘‘Modernity in Mexico: The Case of the Ciudad Universitaria.’’ In Modernity and the Architecture of Mexico, edited by Edward R. Burian, 91–106. Austin: University of Texas Press, 1997. Artaud, Antonin. ‘‘To Have Done with the Judgment of God [1947].’’ In Antonin Artaud: Selected Writings. Edited by Susan Sontag. Translated by Helen Weaver. New York: Farrar, Straus and Giroux, 1976. Barney, Tina. Friends and Relations. Washington and London: Smithsonian Institution Press, 1991. Barthes, Roland. The Empire of Signs. New York: Hill and Wang, 1982. Bataille, Georges. La part maudite. Paris: Éditions de minuit, 1967. ———. L’Erotisme. Paris: Éditions de minuit, 1970. Benjamin, Walter. ‘‘A Small History of Photography.’’ In One-way Street, and Other Writings. Translated by Edmund Jephcott and Kignlsey Shorter, 240–257. London: New Left Books, 1979. ———. ‘‘Little History of Photography.’’ In Selected Writings. Vol. 2. Edited by Howard Eiland, Michael W. Jennings, and Gary Smith. Translated by Rodney Livingstone et al., 507–530. Cambridge: Harvard University Press, 2002. ———. ‘‘The Work of Art in the Age of Its Technological Reproducibility (Second Version).’’ In Selected Writings. Vol. 3. Edited by Howard Eiland and Michael W. Jennings. Translated by Edmund Jephcott, Howard Eiland, et al., 101–136. Cambridge: Harvard University Press, 2002. ———. ‘‘The Work of Art in the Age of Its Technological Reproducibility (Third Version).’’ In Selected Writings. Vol. 4. Edited by Howard Eiland and Michael W. Jennings. Translated by Edmund Jephcott et al., 251–283. Cambridge: Harvard University Press, 2003. Berman, Marshall. All That Is Solid Melts into Air. New York: Penguin Books, 1982. Biesenbach, Klaus, ed. Mexico City: An Exhibition about the Exchange Rates of Bodies and Values. New York: P.S.1 Contemporary Art Center; Berlin: Kunst Werke, 2002. An exhibition catalog. Blanco, Hugo Diego. Tinta china. Mexico City: Ediciones Heliópolis, 1995. 174 NEW TENDENCIES IN MEXICAN ART

Blanco, José Joaquín. Función de medianoche. Mexico City: Era, 1981. ———. Álbum de pesadillas mexicanas. Mexico City: Era, 2002. Burian, Edward R., ed. Modernity and the Architecture of Mexico. Austin: Univer- sity of Texas Press, 1997. Clark, Larry. Tulsa. New York: Grove Press, 2000. Crimp, Douglas. On the Museum’s Ruins. Cambridge: MIT Press, 1993. Debroise, Olivier. ‘‘Heart Attacks: On a Culture of Missed Encounters and Misunderstandings.’’ In El corazón sangrante / The Bleeding Heart. Boston: Institute of Contemporary Art, 1991. An exhibition catalog. Del Conde, Teresa. Historia mínima del arte mexicano en el siglo XX. Mexico City: Universidad Nacional Autónoma de México, 1994. Deleuze, Gilles and Félix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1983. Deutsche, Rosalyn. Evictions: Art and Spatial Politics. Cambridge: MIT Press, 1996. Duhamel, Georges. In Defense of Letters. Translated by E. F. Bozman. New York: Graystone Press, 1939. Dunn, Oliver and James E. Kelley, eds. The Diario of Christopher Columbus’s First Voyage to America 1492–1493. Norman and London: University of Okla- homa Press, 1989. Foster, Hal. The Return of the Real. Cambridge: MIT Press, 2000. Fraser, Valerie. Building the New Mexico: Studies in the Modern Architecture of Latin America, 1930–1960. New York, London: Verso, 2000. Freud, Sigmund. The Standard Edition of the Complete Psychological Works of Sigmund Freud. Translated by James Strachey, in collaboration with Anna Freud, assisted by Alix Strachey and Alan Tyson. London: Hogarth Press and the Institute of Psycho-Analysis, 1953–1974. Fusco, Coco. The Bodies That Were Not Ours and Other Writings. London and New York: Routledge, 2001. Garibay, Ricardo. Novela, uno, vol. 2 of Obras reunidas. Mexico City: Océano, 2002. Goldin, Nan. The Other Side: 1972–1992. Zurich: Scalo Verlag, 2000. Goldman, Shifra M. Dimensions of the Americas: Art and Social Change in Latin America and the United States. Chicago: University of Chicago Press, 1994. Gómez Izquierdo, José Jorge. El movimiento antichino en México (1871–1934): problemas del racismo y del nacionalismo durante la Revolución Mexicana. Mexico City: Instituto Nacional de Antropología e Historia, 1991. Greene, David A. ‘‘Yishai Jusidman and the Reenchantment of Painting.’’ In Investigaciones pictóricas / Pictorial Investigations. Cuernavaca: Instituto de cultura de Morelos, 1995. An exhibition catalog. Guillermoprieto, Alma. The Heart That Bleeds. New York: Alfred A. Knopf, 1994. ———. Looking for History: Dispatches from Latin America. New York: Pantheon Books, 2002. WORKS CITED 175

———. ‘‘Letter from Mexico: A Hundred Women.’’ The New Yorker (Septem- ber 29, 2003): 82–93. Hollier, Denis. ‘‘Surrealist Precipitates: Shadows Don’t Cast Shadows.’’ October 69 (summer 1994): 111–32. Ibargüengoitia, Jorge. Instrucciones para vivir en México. Mexico City: Joaquín Mortiz, 1990. Kant, Immanuel. Critique of Judgment. Translated by Werner S. Pluhar. Indian- apolis: Hackett Publishing Company, 1987. Khlebnikov, Velimir. ‘‘The Radio of the Future.’’ In Snake Train: Poetry and Prose. Edited by Gary Kern. Ann Arbor: Ardis, 1976. Koolhaas, Rem. S, M, L, XL. New York: Monacelli Press, 1995. Kushigian, Julia A. Orientalism in the Hispanic Literary Tradition: In Dialogue with Borges, Paz, and Sarduy. Albuquerque: University of New Mexico Press, 1991. Laplanche, Jean and Jean-Baptiste Pontalis. Language of Psycho-analysis. London: Hogarth Press, 1973. Lippard, Lucy R. Changing: Essays in Art Criticism. New York: E. P. Dutton and Co., 1971. Lombardo Toledano, Vicente. Diario de un viaje a la China nueva. Mexico City: Ediciones Futuro, 1950. Malraux, André. The Museum without Walls. Translated Stuart Gilbert and Francis Price, Garden City, NY: Doubleday, 1967. Marinetti, Filippo Tommaso. Marinetti: Selected Writings. Edited by R. W. Flint. Translated by R. W. Flint and Arthur A. Coppotelli. New York: Farrar, Straus and Giroux, 1972. Martínez, Rosa, ed. Santiago Sierra: Pabellón de España, 50a Bienal de Venecia. Madrid: Turner, 2003. An exhibition catalog. Medina, Cuauhtémoc. ‘‘El regreso de los mutantes.’’ In Acné o el Nuevo contrato Ilustrado. Mexico City: Institution Nacional de Bellas Artes, 1995. An exhibition catalog. ———. ‘‘Teratología de la comparación.’’ In Eduardo Abaroa. Engendros del ocio y la hipocresía. Santa Monica: Smart Art Press, 1999, 52–68. An exhibition catalog. ———. ‘‘Recent Political Forms: Radical Pursuits in Mexico. Santiago Sierra, Francis Alÿs, Minerva Cuevas.’’ Trans>alt.cultures.media 8 (2000): 146–163. ———. ‘‘Zones de Tolérance: Teresa Margolles, SEMEFO et (l’) au-delà / Zones of Tolerance: Teresa Margolles, SEMEFO and Beyond.’’ Parachute 104 (October-December 2001): 31–52. ———. ‘‘El museo fantasmal para un personaje vampiresco.’’ In Vicente Razo, The Official Museo Salinas Guide, 25–32. Santa Monica: Smart Art Press, 2002. 176 NEW TENDENCIES IN MEXICAN ART

Mejía Madrid, Fabrizio. Pequeños actos de desobediencia civil. Mexico City: Cal y arena, 1996. Miklos, David and Mario Bellatín, eds. Una ciudad mejor que ésta: antología de nuevos narradores mexicanos. Mexico City: Tusquets, 1999. Monsiváis, Carlos. Los rituales del caos. Mexico City: Era, 1995. ———. ‘‘El museo Salinas y las mascaras del mexicano.’’ In Vicente Razo, The Official Museo Salinas Guide. Santa Monica: Smart Art Press, 2002. Monteón González, Humberto and José Luis Trueba Lara, eds. Chinos y antichinos en México: documentos para su historia. Guadalajara: Gobierno de Jalisco, Secretaría General, Unidad editorial, 1988. Morales, Taniel. Sin cabeza—Necropsia. Unpublished audio CD. Mexico City, 1999. Nervo, Amado. Poesías completas. Barcelona: Teorema, 1982. Novo, Salvador. ‘‘Radioconferencia sobre el radio.’’ Antena 2 (August 1924): 10; reprinted in El Universal Ilustrado 399 (January 1, 1925): 4–5; anthologized in Toda la prosa. Mexico City: Empresas Editoriales, 1964. ———. Nueva grandeza mexicana: Ensayo sobre la ciudad de México y sus alrededores en 1946. Mexico City: Editorial Hermes, 1946. Ollman, Leah. Camera as Weapon: Worker Photography between the Wars. San Diego: The Museum of Photographic Arts, 1991. Paz, Octavio. El laberinto de la soledad. Mexico City: Fondo de Cultura Económica, 1993. Poniatowska, Elena. Massacre in Mexico. Translated Helen R. Lane. Columbia and London: University of Missouri Press, 1992. Puig, Juan. Entre el río Perla y el Nazas: la china decimonónica y sus braceros emigrantes, la colonia china de Torreón y la matanza de 1911. Mexico City: Consejo Nacional para la Cultura y las Artes, 1993. Quintanilla, Luis. Radio: poema inalámbrico en trece mensajes. Mexico City: Editorial Cultura, 1924. Reprinted in Luis Mario Schneider, ed., El Estridentismo o una literatura de la estrategia. México City: Consejo Nacional para la Cultura y las Artes, 1997. Razo, Vicente. The Official Museo Salinas Guide. Santa Monica: Smart Art Press, 2002. Rossell, Daniela. Ricas y famosas. Madrid: Turner, 2002. Rouvillois, Frédéric. ‘‘Utopia and Totalitarianism.’’ In Utopia: The Search for the Ideal Society in the Western World. Edited by Roland Schaer et al. New York: New York Public Library, 2001. Said, Edward. Orientalism. New York: Vintage Books, 1978. Schaer, Roland, et al., eds. Utopia: The Search for the Ideal Society in the Western World. New York: New York Public Library, 2001. Sheridan, Guillermo. Allá en el campus grande. Mexico City: Tusquets Editores, 2000. SEMEFO. Lavatio corporis. Mexico City: Museo de arte contemporáneo Alvar y Carmen T. Carrillo Gil, 1994. An exhibition catalog. WORKS CITED 177

Soler Frost, Pablo. Cartas de Tepoztlán. Mexico City: Era, 1997. Sullivan, Edward. Aspects of Contemporary Mexican Painting. New York: Ameri- cas Society, 1990. An exhibition catalog. Tablada, José Juan. Poesía, vol. 1 in Obras. Mexico City: Universidad Nacional Autónoma de México, Centro de Estudios Literarios, 1971. Villoro, Juan. ‘‘La ciudad es el cielo del metro.’’ Número 10 (June–August 1996): 43–46. Weinberger, Eliot. Outside Stories, 1987–1991. New York: New Directions, 1992. Weiss, Allen S. Phantasmic Radio. Durham: Duke University Press, 1995. Index

1968 see Tlatelolco student massacre Artificial History (Calderón, Abaroa, Eduardo 7–8, 10, 13, 14, 20, Miguel), 152-153 31, 33–4, 45, 52; Elotes/maíz Asiain, Aurelio, 21 trangénico, 13; Invasión metafísica Aspects of Contemporary Mexican de los hombres desperdicio, 8; Painting, 41 Vicisitudes iniciáticas, 34, 35; Vida Aunt Julia and the Scriptwriter (Vargas instantánea, 34 Llosa, Mario), 73 Acceso A, 111, 114 ‘‘Aventuras en Revolución’’ (González, Acconci, Vito, 106 Rockdrigo), 75, 84 ACE Gallery, 111 Axis Mexico, 10 Acné, 8 Balbuena, Bernardo de, 91; Grandeza acting out, 115–6, 125 mexicana, 91 Adorno, Theodor, 136 Banuet, Beto, 62 Aitken, Doug, 11 Barney, Tina, 57–8; Friends and Alatorre, Antonio, 52 Relations, 57; Theater of Manners, Aldana, Rodgrigo, 20, 33–4; Con título 58; Watch, The, 57 (después de Shi T’ao), 34; Mi pelo Barrera, Lizzie, 55 está cano, 34; Por un México Barthes, Roland, 14, 32–3, 38; The mejor, 20, 33 Empire of Signs, 14, 32–3, 38 Allá en el campus grande (Sheridan, Bataille, Georges, 105–6, 125, 126 Guillermo), 130–1 Batman, 75 Allen, Woody, 73; Radio Days, 73 Beatles, The, 74, 78, 79 Álvarez Bravo, Manuel, 56 Beckett, Samuel, 87 Alÿs, Francis, 7, 10, 15–16, 83, 93–101, Bellatín, Mario, 45; Una ciudad mejor 107, 112, 111, 115, 114, 132, 133; Ambulantes, 94–98, 95, 96, que ésta, 45 97, 98; The Collector, 96–98, 99; Benjamin, Walter, 66–7 The Leak, 98; The loser/the winner, Berman, Marshall, 92, 93, 94 98; Paradox of Praxis, 97; Re- Biesenbach, Klaus, 13, 50–1 enactments, 83, 100; Turista, 112; Blanco, Hugo Diego, 20; Tinta Walks, 16, 96, 100 china, 20 Ambulantes (Alÿs, Francis), 94–98, 95, Blanco, José Joaquín, 99, 107 96, 97, 98 Blin, Roger, 82 Amores Perros (González Iñárritu, body without organs, 15, 86–7 Alejandro), 154 Boreal, Aurora see Prado, Gustavo Anti Œdipus (Deleuze and Guattari), 86 Borges, Jorge Luis, 23 anti-Chinese movement, 26–7 Breton, André, 79 Apollinaire, Guillaume, 77; ‘‘Lettre- Brüggemann, Stefan, 8 Océan,’’ 77 Brunet, Fernanda, 20, 21 Arnheim, Rudolf, 76, 80, 82 Buendía, Manuel, 42 Artaud, Antonin, 74, 85–7; To Have Bundle of 1,000 x 400 x 250 cm Done with the Judgment of Composed of Waste Plastic and God, 74, 85–6 Suspended from the Front of a INDEX 179

Building. 5 Isabel la Católica Street, Con título (después de Shi T’ao) (Aldana, 1997 (Sierra, Santiago), 106 Rodrigo), 34 Burial (Margolles, Teresa), 117, 119 Credencial sordomudos (Hernández, Calderón, Miguel, 8, 10, 16–17, 151–7, Jonathan), 127–32 159; Artificial History, 152- Crimp, Douglas, 136–7 3; Employee of the Month, Critique of Judgement (Kant, 154–6, 155, 157 Immanuel), 84 Calles, Plutarco Elías, 135 Cruzvillegas, Abraham, 7–8 Calzado Canadá, 65 Cuevas, Minerva, 1, 9–10, 11, 15–16, Cantoral, Itati, 52 17, 101–6, 107, 114, 116, 132–3, Cárdenas, Cuauhtémoc, 2, 5, 158–9 156; see also Mejor Vida Cárdenas, Lázaro, 2 Corporation Cards for Cutting Cocaine (Margolles, Debroise, Olivier, 7 Teresa), 117, 119, 122–3 Defense of Letters (Duhamel, Carranza, Venustiano, 61 Georges), 76 Carrillo Gil see Museo de Arte del Conde, Teresa, 38, 49 Contemporáneo Alvar y Carmen T. Deleuze, Gilles, 15, 86 Carrillo Gil Dermis (Margolles, Teresa), 117, Cartas de Tepoztlán (Soler Frost, 122, 124, 125 Pablo), 20 Diario de un viaje a la China nueva Cartier Bresson, Henri, 56 (Lombardo Toledano, Vicente), 28 Casares, Maria, 86 Díaz Ordaz, Gustavo, 5, 14, 52, 59–60 Castañón, Paulina, 5, 59 Díaz Ordaz, Paulina, 52, 58–60, 62, 66 Díaz, Porfirio, 55, 153 Centro Cultural Arte Doy Fe (Kuri, Gabriel), 65 Contemporáneo, 153 Duchamp, Marcel, 90, 126, 158 Centro de la Imagen, 149 Duhamel, Georges, 76–7; Defense of Centro Histórico, México City, 92, 93, Letters, 76 94–5, 98–100, 101, 106, 146 Echeverría, Luis, 2 Chiapas uprising see Zapatistas ejemplo de sonora, El (Espinoza, José china poblana, 31 Ángel), 27 China poblana (Galán, Julio), 7, 42, 43 Elotes/maíz trangénico (Abaroa, chupacabras, 138–9 Eduardo), 13 Cioran, E. M., 73 Empire of Signs, The (Barthes, Roland), City of Palaces: Chronicle of a Lost 14, 32, 38 Heritage, The (Tovar y de Teresa, Employee of the Month (Calderón, Guillermo), 55 Miguel), 154–7, 155, 157 Ciudad Juárez, 120, 122, 125 ‘‘Eres tú’’ (Molina, Adriana), 75 ciudad mejor que ésta, Una (Bellatín, Espinoza, José Angel, 27; El ejemplo de Mario), 45 sonora, 27; El problema chino en Ciudad Nezahualcóyotl, 71 México, 27 Clark, Larry, 56–7 Estridentismo, 78 Cobos, Wendy de los, 52, 61 expenditure, 105–6 Colección Jumex, La, 10–11, 109–10 Faro de Oriente, El, 71 Collector, The (Alÿs, Francis), 96–8, 99 Fernández Garza, Mauricio, 55, 63 Colosio, Luis Donaldo, 4, 42, 119–20 Finale (Vargas Lugo, Pablo), 34, 36 Columbus, Christopher, 25 flâneur, 15, 92, 93, 104, 107, 126 Communist Manifesto, The (Marx, Flaubert, Gustave, 23 Karl), 90 Fondo Nacional para la Cultura y las Compro, luego existo (Loaeza, Guada- Artes (FONCA), 8 lupe), 54 Fonseca, Gonzalo, 8; La Torre de los Conde, Teresa del, 38, 49 Vientos, 8 Conjunctions and Disjunctions (Paz, Foster, Hal, 7, 9, 45 Octavio), 29 Fox, Vicente, 6 constructivism, 104 Freud, Sigmund, 116, 151 180 INDEX

Friends and Relations (Barney, Institutional Revolutionary Party see Tina), 57–8 Partido Revolucionario Fuentes, Carlos, 67; La región más Institucional (PRI) transparente, 68 Instituto Nacional de Bellas Artes, Fusco, Coco, 8, 114 11, 12, 144 Galán, Julio, 7, 40, 41, 42, 43; China Invasión metafísica de los hombres poblana, 7, 42, 43 desperdicio (Abaroa, Eduardo), 8 Galerie Chantal Crousel, 103 ‘‘. . .IU IIIUUU IU. . .’’ (Quintanilla, Galerie Peter Kilchmann, 10 Luis), 78–80 Gallery Burned with Gasoline (Sierra, Jaffe, Jana, 55 Santiago), 114 Juárez see Ciudad Juárez Galván, Carlos, 132 Juicio a Salinas (Rodríguez, Jesusa), 5 Jumex see Colección Jumex, La Gandhi, 79 Jusidman, Yishai, 14, 22, 34, 41–2, 44; garbage pickers, see pepenadores Geishas al descubierto, 42, 44 Garibay, Ricardo, 111; El milusos, 111 Kahlo, Frida, 144 Garza, Javier de la, 40 Kant, Immanuel, 84; Critique of Geishas al descubierto (Jusidman, Judgement, 84 Yishai), 42, 44 Kawara, On, 90 Giuliani, Rudolph, 56, 94 Khlebnikov, Velimir, 80 Goebbels, Josef, 84 Koolhaas, Rem, 92–3 Goldin, Nan, 56–7 Krauze, Enrique, 95 Goldman, Shifra, 11, 138 Kristeva, Julia, 28 González Iñárritu, Alejandro, 154 Kuri, Gabriel, 11, 65; Doy Fe, 65 González, Rockdrigo, 75, 84; Kuri, José, 11 ‘‘Aventuras en Revolución,’’ 75, 84 Kurimanzutto, 11 González Torres, Félix, 17 Kushigian, Julia A., 23–4; Orientalism Gordon, Douglas, 11 in the Hispanic Literary Tra- Grandeza mexicana (Balbuena, dition, 23 Bernardo de), 91 Labyrinth of Solitude, The (Paz, Greene Naftali Gallery, 10, 49 Octavio), 16, 126, 137 Guattari, Félix, 15, 86 Language of Psycho-Analysis (Laplanche Guillermoprieto, Alma, 96, 121 and Pontalis), 116 Guzmán, Daniel, 11 Lankenau, Marien, 63 Haacke, Hans, 68; Shapolsky et al. Laplanche, Jean, 116; Language of Manhattan Real Estate Holdings; A Psycho-Analysis, 116 Real Time Social System, as of May, Larvario (Margolles, Teresa), 117 1971, 68; Solomon R. Guggenheim Leak, The (Alÿs, Francis), 98 Museum Board of Trustees, 68 Le Corbusier, 129 ‘‘Lettre-Océan’’ (Apollinaire, Guil- Hank González, Carlos, 49 laume), 77 Havana Biennale, 117 Lipard, Lucy, 10 Helguera, Pablo, 136 Li Po (Tablada, José Juan), 27–8 Hello Kitty (Orlaineta, Edgar), 35 Lisson Gallery, 10, 103 Hernández, Jonathan, 11, 15–16, Littman, Robert, 153 127–32; Credencial sordomudos, Loaeza, Guadalupe, 54, 55; Compro, 127–32; Se busca recompensa, 127 luego existo, 54; Las niñas bien, 55 Hollier, Denis, 125 Lombardo Toledano, Vicente, 28–9, 31; Hotel de México, 63–4 Diario de un viaje a la China Ibargüengoitia, Jorge, 107 nueva, 28 INBA, see Instituto Nacional de López, Sonia, 75 Bellas Artes López Portillo, José, 2, 54, 56 Infinita compasión (Vargas Lugo, López Rocha, Aurelio, 2 Pablo), 34 López Rocha, Eugenio, 10–11, 63 In Light of India (Paz, Octavio), 29 López Rocha, Sandy, 65 INDEX 181 loser/the winner, The (Alÿs, Francis), 98 MUNAL, see Museo Nacional de Arte Madona Tsunami (Vargas Lugo, Muñoz Rocha, Manuel, 4, 119–20 Pablo), 34 muralism, 104–5 Madrid, Miguel de la, 2, 42 Museo de Antropología, 16, 137, 144, Maldonado, Rocío, 40 149–51, 152 Manzutto, Mónica, 11 Museo de Arte Contemporáneo Alvar y Mao Tse-tung, 28–9 Carmen T. Carrillo Gil, 11, 117 Margolles, Teresa, 1, 9–10, 15–16, Museo de Historia Natural, 116–26, 132, 146; Burial, 117, 151–3, 153–7 119; Cards for Cutting Cocaine, Museo del Prado, El, 146–51, 147–50 ; 117, 119, 122–3 ; Dermis 117, see also Prado, Gustavo 122–3, 124; Havana Biennale, Museo Nacional de Arte, 16, 117; Larvario, 117, Tatuajes 117, 153–4, 156 Tongue, 118, 117; Vaporiza- Museo Rufino Tamayo, 111 tion, 117 Museo Salinas (Razo, Vicente), 9, Marian Goodman Gallery, 11 138–44, 139–143, 157 Marinetti, Filippo Tommaso, 77 Museum of Anthropology, 16, 137, Martín, Patricia, 10 144, 149–51, 152 Martínez, Rosa, 114 Museum of Natural History, Marx, Karl, 90; Communist Mani- 151–3, 153–7 festo, The, 90 My Melody (Orlaineta, Edgar), 38, 40 Massenet, Jules, 77 NAFTA, see North American Free Trade Matta Clark, Gordon, 106 Agreement McCarthy, Paul, 11 National Action Party see Partido Acción Medina, Cuauhtémoc, 12–13, 55, 100, Nacional (PAN) 114–5, 126 National Autonomous University of Mejía Madrid, Fabrizio, 64 Mexico see Universidad Nacional Mejor Vida Corporation, 1, 9, Autónoma de México 17, 101–106, 107; see also National Institute of Fine Arts see Cuevas, Minerva Instituto Nacional de Bellas Artes metro, Mexico City, 74, National Museum of Art, 16, 81–2, 88, 101–2 Mexican Arts Council, see Fondo 153–4, 156 Nacional para la Cultura y las Napoleon, 23 Artes (FONCA) neo-Mexicanism, 7–8, 17, Mexican Revolution, 1, 2, 15, 26, 58–9, 38–42, 65, 153 63, 105, 131, 135 Nervo, Amado, 77 Mexico City: An Exhibition about the niñas bien, Las (Loaeza, Guadalupe), 55 Exchange Rates of Bodies and North American Free Trade Agreement, Values, 10, 50 Mexico Illus- 1, 2–3, 13, 65 trated, 10 Novo, Salvador, 77–8, 91–3, 100; Meyer, Lorenzo, 50, 51 Nueva grandeza mexicana, 92 milusos, El (Garibay, Ricardo), 111 Nuevo León, 63 Mi pelo está cano (Aldana, Rodrigo), 34 Núñez, Dulce María, 7, 40 Moffat, Tracey, 49 Obregón, Alvaro, 135 Molina, Adriana, 75; ‘‘Eres tú,’’ 75 Obstruction of a Freeway with a Trailer Monkey Grammarian, The (Paz, Truck (Sierra, Santiago), 110, 110 Octavio), 29 Official Museo Salinas Guide, The (Razo, Monsiváis, Carlos, 5, 52, 101 Vicente), 11, 138 Montes de Oca, José Maria, 26 O’Gormann, Juan, 127 Morales, Taniel, 15, 71, 73–90, 91, Okón, Yoshua, 8 158, 159; Sin cabeza-Necropsia, 15, Oldenburg, Claes, 20 73–90, 158 Orientalism (Said, Edward), 14, 21–4 morgue see SEMEFO (Servicio Médico Orientalism in the Hispanic Literary Forense) Tradition (Kushigian, Julia), 23 182 INDEX

Orlaineta, Edgar, 8, 14, 20, 35, 40; Punkenhofer, Robert, 8 Hello Kitty, 35; My Melody, 38, 40 Quintana, Georgina, 40 Orozco, Gabriel, 11, 13, 65 Quintanilla, Luis, 78–80; ‘‘. . .IU Ortíz, Rubén, 13; Elotes/maíz IIIUUU IU. . .,’’ 78–80; Radio: trangénico, 13 poema inalámbrico en trece PAN, see Partido Acción mensajes, 78 Nacional (PAN) ‘‘Radioconferencia sobre el radio’’ Panadería, La, 8, 138, 151, 152 (Novo, Salvador), 77–8 Pandolfi, Silvia, 11 Radio Days (Allen, Woody), 73 Pani, Mario, 127 Radio Pirata XCH—Sin Permiso, 73 Paradox of Praxis (Alÿs, Francis), 97 Radio: poema inalámbrico en trece Parque de la Lama, 63 mensajes (Quintanilla, Luis), 78 Partido Acción Nacional Razo, Vicente, 1, 9, 12, 16, (PAN), 6, 58, 63 138–44, 139–43 , 151, 156–8; Partido Revolucionario Institucional Museo Salinas, 9, 138-43, 156; (PRI), 1, 2–6, 9, 11–12, 14–15, The Official Museo Salinas 16, 42, 48, 49, 54, 58, 61, 62–3, Guide, 12, 138 69, 85, 119, 129, 135–8, 139, 144 Re-enactments (Alÿs, Francis), 83, 100 Paz, Octavio, 16, 20, 23, 29, 31, 72, región más transparente, La (Fuentes, 90, 126, 130, 136, 137, 144, 149, Carlos), 68 151; Conjunctions and Disjunctions, Revolución, Avenida, 73, 75, 81, 84 29; In Light of India, 29; The Revolution see Mexican Revolution Labyrinth of Solitude, 16, 126, 137; Reyes, Pedro, 8 The Monkey Grammarian, 29; Ricas y famosas (Rossell, Daniela), 14, Posdata, 90 47–69, 48, 53–4, 59–62, 67 ‘‘Paz in Asia’’ (Weinberger, Eliot), 29 Río Churubusco, 107 Pecados (Rossell, Daniela), 35, 38, 39 Rising Sun (Vargas Lugo, Pedestrian Bridge Obstructed with Pablo), 34, 37 Wrapping Tape (Sierra, Rivera, Diego, 11, 28, 29, 105, 127 Santiago), 105, 108 Rockdrigo, see González, Rockdrigo Pedrosa, Adriano, 114 Rodchenko, Alexandr, 104–5 Pelli, Cesar, 51 Rodríguez, Jesusa, 5 pepenadores, 96–8 rosca de reyes, 158–9 Pérez Prado, Dámaso, 74, 84 Rossell, Daniela, 1, 5, 7–9, 10, 14–15, Periférico, 75, 109–10, 116 34–5, 38, 39, 47–69, 148, 159; Plaza Santa Catarina, 93, 99, 107 Pecados, 35, 38, 39; Ricas Polyforum Siqueiros, 54, 63–4 y famosas, 14, 47–69, 48, Pontalis, J. B., 116; Language of Psycho- 53–4, 59–62, 67 Analysis, 116 Rossell de la Lama, Guillermo, Pornografía infantil (Prado, 55, 56, 63–4 Gustavo), 148, 150 Rossell, Guillermo, 61 Por un México mejor (Aldana, Rouvillois, Frédéric, 105 Rodrigo), 20, 33 Rovirosa Wade, Leandro, 54 Posadas, Juan Jesús Cardinal, 3, 119 Ruiz Massieu, José Francisco, 4, 5, Posdata (Paz, Octavio), 90 119, 122, 126 Prado, Gustavo 16, 144–51, 152, 156; Ryman, Robert, 20 El Museo del Prado, 146–51, Said, Edward, 14, 21–4, 32; 147–50 ; Pornografía infantil, 148, Orientalism‚14, 22–4 150; Yo ni existo, 146 Sala Siqueiros, 11, 144 PRI see Partido Revolucionario Salinas de Gortari, Carlos, 1, 2–5, 9, 14, Institucional (PRI) 16, 54, 60, 138–44, 157 problema chino en México, El (Espinoza, Salinas, Emiliano, 55, 60–1, 66 José Ángel), 26 Salinas Museum, see Museo Salinas P.S.1 Contemporary Art Center, 10, Salinas, Raúl, 5, 52, 59, 66, 119, 125 13, 50, 65 San Felipe de Jesús, 25–6, 30, 31 INDEX 183

Santos, Alicia, 55 Tiravanija, Rikrit, 17 Sarduy, Severo, 23 Tlalpan, 107, 109 Schwabsky, Barry, 49, 67 Tlatelolco student massacre, 5, 14, 52, Se busca recompensa (Hernández, 59, 129, 132 Jonathan), 127 To Have Done with the Judgment of God SEMEFO (Servicio Médico Forense), 9, (Artaud, Antonin), 74, 85–6 116–21, 124, 133 Tongue (Margolles, Teresa), 117 SEMEFO artists’ collective, 117 Torre de los Vientos, La, 8 Shapolsky et al. Manhattan Real Estate Torre Latinoamericana, 101, 107 Holdings; A Real Time Social Torreón, 26 System, as of May, 1971 (Haacke, Tovar y de Teresa, Guillermo, 55; City Hans), 68 of Palaces: Chronicle of a Lost Sheridan, Guillermo, 130–1; Allá en el Heritage, The, 55 campus grande, 130–1 Tracy, Michael, 40 Shitao, 34 Turista (Alÿs, Francis), 112 Sierra, Santiago, 1, 9–10, 15–16, Twenty Million Mexicans Can’t Be 106–16, 125, 132–3; Bundle of Wrong, 10 1,000 x 400 x 250 cm Composed of UNAM see Universidad Nacional Waste Plastic and Suspended from Autónoma de México the Front of a Building. 5 Isabel la Universidad Nacional Autónoma de Católica Street, 1997, 106; Gallery México, 5, 16, 74, 127–32 Burned with Gasoline, 114; Vaporization (Margolles, Teresa), 117 Obstruction of a Freeway with a Vargas, Gaby, 52 Trailer Truck, 110, 110; Pedestrian Vargas Llosa, Mario, 6, 73; Aunt Julia Bridge Obstructed with Wrapping and the Scriptwriter, 73 Tape, 107, 108; Wall of a Gallery Vargas Lugo, Pablo, 7–8, 10, 14, 20, Torn Out, Tilted at an Angle of 31, 33–4, 36, 37, 45; Finale, 34, Sixty Degrees, and Supported by 5 36; Infinita compasión, 34; Madona People, 114, 113 Tsunami, 34; Rising Sun, 34, 37 Sin cabeza—Necropsia (Morales, Taniel), Velasco, José María, 65 15, 73–90, 158 Venegas, Germán, 65 Siqueiros, David Alfaro, 12, 63; Cartas de Tepoztlán, 20 Viaducto Miguel Alemán, 72 Smith, Melanie, 7 Viaducto Tlalpan, 107, 109 Smith, Ray, 40 Vicisitudes iniciáticas (Abaroa, Soler Frost, Pablo, 20 Eudardo), 34, 35 Sollers, Phillipe, 28 Vida instantánea (Abaroa, Eduardo), 34 Solomon R. Guggenheim Museum Board Villa, Pancho, 61, 62 of Trustees (Haacke, Hans), 68 Villoro, Juan, 49–50, 63, 88, 89, 91 Sonora Santanera, 75 Walks (Alÿs, Francis), 16, 96, 100 Stalin, Josef, 84 Wall of a Gallery Torn Out, Tilted at an Suárez, Manuel, 63–4 Angle of Sixty Degrees, and subway see metro, Mexico City Supported by 5 People (Sierra, Tablada, José Juan, 27–8; Li Po, 27–8 Santiago), 114, 113 Táboas, Sofía, 7–8 Watch, The (Barney, Tina), 57 Taniya, Kyn, see Quintanilla, Luis Weinberger, Eliot, 28; ‘‘Paz in Asia,’’ 29 Tatuajes (Margolles, Teresa), 117 Weiss, Allen, 87 Tel Quel, 28 Yo ni existo (Prado, Gustavo), 146 Temerarios, Los, 74 Zapata, Emiliano, 15, 60, 61–2, Temístocles, 7–9, 12, 14, 19, 48, 138 66, 80, 89 Tepito, 100 Zapatistas, 1, 3–4, 7, 42, 136 Theater of Manners (Barney, Tina), 58 Zebra Crossing, 10 Thompson, Ginger, 63, 67 Zedillo, Ernesto, 4–6, 120, 130 Tigres del Norte, Los, 73 Zenil, Nahúm, 7, 40, 41 Tinta china (Blanco, Hugo Diego), 20 Zócalo, 88, 92, 93