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UNIVERSITY of CALIFORNIA Los Angeles History, Locality, and Art Worlds: a Case Study of the Center for the Arts at San Agustín

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UNIVERSITY of CALIFORNIA Los Angeles History, Locality, and Art Worlds: a Case Study of the Center for the Arts at San Agustín UNIVERSITY OF CALIFORNIA Los Angeles History, Locality, and Art Worlds: A Case Study of the Center for the Arts at San Agustín Etla (CASA), Oaxaca, México A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by María del Carmen Cebreros Urzaiz 2019 © Copyright by María del Carmen Cebreros Urzaiz 2019 ABSTRACT OF THE DISSERTATION History, Locality, and Art Worlds: A Case Study of the Center for the Arts at San Agustín Etla (CASA), Oaxaca, México by María del Carmen Cebreros Urzaiz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2019 Professor David Delgado Shorter, Chair This interdisciplinary case study portrays the Center for the Arts at San Agustín Etla (CASA). CASA constitutes a micro-universe—a system in scale—dedicated to art production, art education and professionalization, art display, and development of audiences. Established in the restored building of a Porfirian textile industry, in a semi-rural municipality in the central valleys of Oaxaca in Southern México, the center inaugurated in 2006. CASA results from private and public efforts galvanized by the artist Francisco Toledo (1940-2019), who campaigned to recuperate and restore the mill for public uses. In this center, negotiations of cultural, symbolic, artistic, and aesthetic values happen regularly. Such deliberations engage national and international cultural producers, artistic forms, and traditions, as well as the local population, the environment, and the history of the site. ii This dissertation argues that the dynamism stimulated by the foundation of the Center for the Arts at San Agustín plays an active mediating function in the configuration of a heterogeneous culture in which divergent lifeways coincide and coalesce without attempting to resolve or be reduced to a singular one. Art learning, art production, and art dissemination lay at the core of such dynamism. This case study examines how an arts center intercedes in the symbolic and material relationships between individuals, distinct communities, social institutions, and the territory. My investigation draws from thirty months of fieldwork at San Agustín Etla, extensive interviews with stakeholders, artists, and community members, along with archival research of institutional documents, public records, publications produced at CASA, exhibitions, as well as media and press coverage. Each of the four chapters comprised in this study offers a distinct vantage point from which considering the Center for the Arts at San Agustín while also contextualizing it regarding broader historical, social, and cultural phenomena. The first chapter focuses on the cultural history of the site where CASA currently exists, and the process of conversion of a nineteen- century textile mill into an artistic and cultural institution. CASA’s case offers a framework to further ponder the global phenomenon of the revitalization of abandoned manufacturing centers and its adaptation as infrastructures for the cultural and creative industries. Chapter Two positions CASA in relation to other cultural institutions founded by the Juchitecan artist, activist, and philanthropist Francisco Toledo. The chapter links the goals of this arts center with the political, aesthetic, and epistemic concerns and convictions of his founder. The third chapter elaborates on the social and political organization of San Agustín, and the responses of Sanagustinians to the foundation of CASA. The fourth chapter features the voices of artists that iii migrated to San Agustín and decided to establish their studios in this locale. The testimonies of these creators delineate the contours of local art worlds in San Agustín and Oaxaca. This research demonstrates that, in order to understand an artistic institution, scholars need to analyze the surrounding spheres touched or disputed by those organizations that intend to expand public participation. iv The dissertation of María del Carmen Cebreros Urzaiz is approved. Anurima Banerji Saloni Mathur Nancy Marie Mithlo David Delgado Shorter, Committee Chair University of California, Los Angeles 2019 v Para Jaime, por tu ilimitada confianza en mí y por contagiarme, con tu trabajo, la curiosidad por el arte; y para Cristina, mi madre, por tu gran sabiduría y tu enorme deseo de conocimiento. Dedico esta investigación al amor y admiración que siento por ustedes. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS…………………………………………………………………… xi VITA……………………………………………………………………………………….. xvi INTRODUCTION……………………………………………………………………………. 1 CHAPTER 1. HISTORY, HERITAGE, AND REGENERATION OF LA SOLEDAD VISTA HERMOSA TEXTILE MILL, AND THE CREATION OF THE CENTER FOR THE ARTS AT SAN AGUSTÍN (CASA) ………………………………………………………………………… 22 FOUNDATION AND DECLINE OF THE “FÁBRICA DE HILADOS Y TEJIDOS ‘LA SOLEDAD VISTA HERMOSA’” (LA SOLEDAD VISTA HERMOSA TEXTILE MILL)………………… 24 PROCESS OF ACQUISITION OF “LA SOLEDAD VISTA HERMOSA” ESTATE BY THE GOVERNMENT OF OAXACA AND FRANCISCO TOLEDO THROUGH THE ASSOCIATION OF “FRIENDS OF THE ARCHIVES AND LIBRARIES OF OAXACA” ……………………... 33 FROM ESCUELA TALLER DE VISTA HERMOSA TO CASA: THE AMENDING AGREEMENT (“CONVENIO MODIFICATORIO”) OF 2002……………………………………………. 47 LA SOLEDAD ESTATE: FACILITIES AND RESTORATION………………..………………… 54 RESTORATION AND REUTILIZATION OF INDUSTRIAL RUINS FOR CULTURAL AND ARTISTIC USES AS A GLOBAL PHENOMENON OF THE LATE TWENTIETH CENTURY…… 62 CONCLUSIONS………………..………………..………………..………………………. 69 CHAPTER 2. FRANCISCO TOLEDO’S PHILANTHROPY AND ACTIVISM THROUGH CULTURAL INSTITUTIONS……………..………………..………………..……………….. 71 FRANCISCO TOLEDO’S LIFE BEFORE HIS RELOCATION IN OAXACA CITY ………………. 72 LIST AND TIMELINE OF INSTITUTIONS FOUNDED, SPONSORED, AND CO-SPONSORED BY FRANCISCO TOLEDO………………..………………..………………..……………... 78 FRANCISCO TOLEDO’S LEGACY AND THE OAXACAN LANDSCAPE OF HIS CULTURAL INSTITUTIONS………………..………………..………………..…………………..... 79 FRANCISCO TOLEDO ACTIVIST, AND PRO-OAX’S CAMPAIGNS………………………….. 90 THE INSTITUTIONALIZATION OF FRANCISCO TOLEDO’S LEGACY……………………….. 98 CONCLUSIONS………………..………………..………………..………………………. 105 vii CHAPTER 3. SAN AGUSTÍN ETLA CULTURAL HISTORY AND THE TRANSFORMATIONS BROUGHT BY THE CENTER FOR THE ARTS AT SAN AGUSTÍN (CASA)……………………. 107 LOCAL INSTITUTIONS AND AUTHORITIES, DECISION MAKING, AND THE PURCHASE OF LA SOLEDAD EX-FACTORY………………..………………..………………..……… 114 LOCAL INSTITUTIONS OF RECIPROCITY AND THE ARRIVAL OF NEWCOMERS (AVECINDADAS/OS) ………………..………………..………………..…………….. 122 INTERSECTIONS BETWEEN SAN AGUSTÍN INHABITANTS AND CASA…………………… 129 CONCLUSIONS………………..………………..………………..………………………. 140 CHAPTER 4. AVECINDADAS/OS AND ARTISTS. IMPLICATIONS, ADVANTAGES, AND CHALLENGES OF ARTISTIC PRACTICES IN AND FROM SAN AGUSTÍN…………………….. 143 ARTISTS BIOS AND BRIEF BACKGROUND………………..………………..…………….. 147 RELOCATION IN SAN AGUSTÍN. PUTTING DOWN ROOTS AND ESTABLISHING RELATIONSHIPS WITH THE PLACE………………..………………..…………………. 151 AVECINDADAS/OS, BECOMING INTO A NEIGHBOR………………..…………………….. 157 THE ARTISTS’ RELATIONSHIP WITH CASA AND FRANCISCO TOLEDO……………. 164 ARTISTIC PRACTICES AND RELATIONSHIPS WITH THE ART WORLDS……………………. 175 CONCLUSIONS………………..………………..………………..………………………. 188 DISSERTATION CONCLUSIONS……………………………………………………………. 190 FIGURES………………..………………..………………..……………………………….. 194 WORKS CITED………………..………………..………………..………………………… 209 viii LIST OF FIGURES (*) Figure 1. La Caldera (La Soledad Vista Hermosa original chimney) Figure 2. Francisco Toledo at the Center for the Arts at San Agustín Photographer: Javier León Cuevas Figure 3. View of the Center for the Arts at San Agustín from the Barrio de San José Figure 4. Center for the Arts at San Agustín façade Figure 5. Center for the Arts at San Agustín, La Soledad Temple (bell tower), and San Agustín Etla Valley Figure 6. Center for the Arts at San Agustín stairs and fountain Figures 7a and 7b. Nave second floor (area dedicated to performing arts, concerts, and exhibitions) Figure 8. Nave first floor (area dedicated to exhibitions) Figure 9. Reflective pool and square in front of La Soledad Temple Figure 10. Reflective pool in the second floor and classrooms (left) Figure 11. Institute of Graphic Arts of Oaxaca (Macedonio Alcalá) Photographer: Javier León Cuevas Figure 12. Library of the Institute of Graphic Arts of Oaxaca (Macedonio Alcalá) Photographer: Javier León Cuevas Figure 13. Library of the Institute of Graphic Arts of Oaxaca (Benito Juárez) Photographer: Claudia López Terroso Figure 14. Manuel Álvarez Bravo Photographic Center (reflective pool) Photographer: Javier León Cuevas Figure 15. San Agustín Etla Valley Figure 16a. Muerteros dancing (La Muerteada Vista Hermosa 2016) Figure 16b. “El Informe” (La Muerteada Vista Hermosa 2016) Figure 17a. Independency Day Ceremony, América (September 16, 2016) Figure 17b. Independency Day Ceremony, school contingents (September 16, 2016) Figure 18. Ofrenda 4. Danza del Inframundo, performance at CASA, International Day in Defense of Native Corn Species, masks designed by Isabel Sánchez Salgado (September 29, 2016) (*) All the images by Carmen Cebreros Urzaiz unless otherwise stated. ix LIST OF ACRONYMS CASA Center for the Arts at San Agustín CENART National Center for the Arts CENCROPAM National Center of Conservation and Registrar of the Movable Artistic Patrimony CFE Federal Commission of Electricity CFMAB Manuel Álvarez Bravo Photographic Center CIDI Center of Research in Industrial Design COCEI Coalition of Workers, Peasants, and Students of the Isthmus CONACULTA National Council for Culture and Arts CONACYT National
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