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Contrasting Approaches to Context in Selected 20Th Century Mexican and Argentine Art Practices

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Contrasting Approaches to Context in Selected 20Th Century Mexican and Argentine Art Practices UNIVERSITY OF CALIFORNIA, SAN DIEGO Assured Pasts or Gambled Futures: Contrasting Approaches to Context in Selected 20th Century Mexican and Argentine Art Practices A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory, and Criticism by Fabian Cereijido Committee in charge: Professor Lesley Stern, Chair Professor Norman Bryson Professor Brian Goldfarb Professor Grant Kester Professor Ruben Ortiz Torres 2010 Copyright Fabian Cereijido, 2010 All rights reserved. The Dissertation of Fabian Cereijido is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2010 iii DEDICATION To Lesley Stern iv TABLE OF CONTENTS SIGNATURE PAGE ................................................................................................................... iii DEDICATION ............................................................................................................................. iv TABLE OF CONTENTS .............................................................................................................. v LIST OF FIGURES ................................................................................................................... viii VITA .......................................................................................................................................... xvi ABSTRACT OF THE DISSERTATION ................................................................................ xviii 1. Introduction ............................................................................................................................... 1 2. Tucumán Arde by the Grupo Argentino de Vanguardia ......................................................... 11 A. General order of Chapter 2 ........................................................................................ 11 B. Brief political review .................................................................................................. 14 C. Very brief epochal review .......................................................................................... 17 D. Shifting unions ........................................................................................................... 19 E. Peronism, an empty signifier, but more real than thee ............................................... 20 F. The Di Tella Institute .................................................................................................. 23 G. Battle of the frames .................................................................................................... 27 H. Foquism and context .................................................................................................. 29 I. Peregrinations of self investment and deferred factuality: to Cuba, to the jungle, to Madrid ............................................................................................................................. 31 J. More committed to the future than to the “present” or speech act, Oscar Massotta .... 33 K. The Grupo Argentino de Vanguardia comes together as a group .............................. 35 L. The Moment and the exhibition .................................................................................. 38 M. Graciela Carnevale, a Tucumán Arde artist ............................................................... 43 v N. Who can cash the checks of the disappearing author? Minimalism, Pop and Graciela Carnevale inscribe Contingency...................................................................................... 47 O. Tucumán Arde and the Media vs. El Arte de los Medios .......................................... 49 P. The end of Tucumán Arde .......................................................................................... 53 Q. Tucumán Arde’s afterlife: Historiography and revisionism ....................................... 54 R. Jorge Glusberg redefines ........................................................................................... 58 S. Conclusion .................................................................................................................. 63 3. Guillermo Kuitca .................................................................................................................... 64 A. Identity, but not like that ............................................................................................ 64 B. Before diagrams .......................................................................................................... 68 C. Wuppertal and the factual ........................................................................................... 75 D. Kuitca’s pre-coded diagrams ...................................................................................... 79 4. Diego Rivera ........................................................................................................................... 92 A. Diego Rivera Cubist, before the murals ..................................................................... 93 B. The transferential traction of the Fourth Dimension ................................................ 104 C. Muralism, re thinking context .................................................................................. 109 D. Vasconcelos and Rivera ........................................................................................... 111 E. Frail institutional framework .................................................................................... 112 F. Vasconcelos and his supervised apocatastasis .......................................................... 114 G. A putative Quetzalcoatl ............................................................................................ 116 H. Shared remoteness .................................................................................................... 117 I. Drifting apart, the re-foundation of the Muralist Project ........................................... 119 J. Rivera’s path to the palace: Mystic universalism, evangelic class struggle, revolutionary germination, national history .................................................................. 122 K. Historia de Mexico: Rivera’s Murals in the Government Palace. ............................ 128 vi 1. Past ......................................................................................................................... 135 2. Present .................................................................................................................... 138 3. The Future .............................................................................................................. 147 5. Gabriel Orozco ...................................................................................................................... 154 A. Tlatelolco .................................................................................................................. 157 B. Independent, immersive artistic practices in Mexico City ....................................... 158 C. The “Grupos”............................................................................................................ 159 D. Attributing text and context ...................................................................................... 165 E. Neo-Mexicanism/Neo conceptualism a text/context struggle .................................. 168 F. A Neo Mexican work and the limits of inscription. .................................................. 175 G. Gabriel Orozco, object experience ........................................................................... 182 1. La DS ...................................................................................................................... 185 2. The signature and the cut ........................................................................................ 187 3. Yieding Stone, factual mexicanicity ....................................................................... 193 4. Homerun ................................................................................................................. 197 5. Turista Maluco ....................................................................................................... 200 6. Conclusion ............................................................................................................................ 203 Appendix ................................................................................................................................... 206 vii LIST OF FIGURES Figure 1. The “Noche de los Bastones Largos”: General .............................................................. 15 Figure 2. Agustin Tosco, union leader of the CGTA ...................................................................... 16 Figure 3. The popular insurrection known as the Cordobazo, 1969. ............................................. 16 Figure 4. The Army takes the streets of Cordoba City ................................................................... 17 Figure 5. Cortázar in the 1950s, Che and Cortazar in the late 1960s .............................................. 31 Figure 6. Planning meeting of the GAV in Rosario, 1968. ............................................................. 37 Figure 7. Marta Minujin, La Menesunda, 1965, Environment. ..................................................... 40 Figure 8. Entrance to the Tucumán Arde in the CGTA, Rosario, November 3rd, 1968.
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