DOCSLIB.ORG

Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by Mónica Rocío Salazar APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Charles Hatfield, Co-Chair ___________________________________________ Charissa N. Terranova, Co-Chair ___________________________________________ Mark Rosen ___________________________________________ Shilyh Warren ___________________________________________ Roberto Tejada Copyright 2016 Mónica Salazar All Rights Reserved A mi papá. DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by MÓNICA ROCÍO SALAZAR, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Research and writing of this dissertation was undertaken with the support of the Edith O’Donnell Institute of Art History. I thank Mrs. O’Donnell for her generosity and Dr. Richard Brettell for his kind support. I am especially grateful to Dr. Charles Hatfield and Dr. Charissa Terranova, co- chairs of this dissertation, for their guidance and encouragement. I thank Dr. Mark Rosen, Dr. Shilyh Warren, and Dr. Roberto Tejada for their time and commitment to this project. I also want to thank Dr. Adam Herring for his helpful advice. I am grateful for the advice and stimulating conversations with other UT Dallas professors—Dr. Luis Martín, Dr. Dianne Goode, Dr. Fernando Rodríguez Miaja—as well as enriching discussions with fellow PhD students—Lori Gerard, Debbie Dewitte, Elpida Vouitis, and Mindy MacVay—that benefited this project. I also thank Dr. Shilyh Warren and Dr. Beatriz Balanta for creating the Affective Theory Cluster, which introduced me to affect theory and helped me shape my argument in chapter 4. I want to acknowledge the support from the Mexican institutions that allowed me to do the research for this dissertation. I thank the staff of the Biblioteca Alfonsina at the Universidad Autónoma de Nuevo León for their welcoming support; in particular, I am grateful for the help of Natalia Berrún. I am also grateful to Fernando Rodríguez at the Centro de Documentación of the Museo Rufino Tamayo, as well as Cristina Ortega at the Biblioteca de la Fundación Jumex Arte Contemporáneo. The conversations I held with artists Geardo Cantú, Gonzalo García, and Rubén Maya also informed this dissertation. I am grateful for their time and generosity. I am also indebted to my many friends and family members who in different ways contributed to this project. I thank Karla, Eduardo, Amanda, Nico, Daniela, Andrés, Ale, Javier, Vero Esquino, v and Larry for helping with Carolina. I am also grateful for the support of my loving family— Cristina, Enrique, Cristy, Marce, Kike, Eugenio, Jorge, Claudia, Jorgito, Mariana, and David. Above all, I thank the encouragement and support of my parents, Alejandra, Rafa, Rafita, Valeria, and Elva, who take care of Carolina and me every summer. Last but not least, I am grateful for the love and unconditional support of Oso and Carolina. October 2016 vi DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT Publication No. ___________________ Mónica Salazar, PhD The University of Texas at Dallas, 2016 ABSTRACT Supervising Professors: Charles Hatfield, Co-Chair Charissa N. Terranova, Co-Chair This dissertation is about the presence of death in contemporary Mexican art, specifically the ways in which it transforms an ancient tradition while reflecting the sociopolitical changes brought about by the neoliberal policies that were put into place during the presidency of Carlos Salinas de Gortari (1988–1994). It studies the relationship between the narrative of death representations in Mexican art; the economic and sociopolitical turmoil of the 1990s; and the presence of death in the works of prominent contemporary Mexican artists—Teresa Margolles, María García-Ibañez, Gabriel de la Mora, Lenin Márquez Salazar, and Gonzalo García—in order to argue that their work not only transforms the national tradition of death to which it belongs, but also responds to the unprecedented changes imposed by neoliberalism. My dissertation also argues that the current crisis of place—an overarching anxiety over the physical territory of the country (which is threatened by neoliberalism)—has a strong presence in contemporary Mexican art, and is evident in its treatment of the national symbol of death. It aims to demonstrate how the ending of decades of land distribution that were crucial in the construction of a national identity vii bound to the land, where the bones of its ancestors lay, was the catalyst for new kinds of death representations that appeal to the senses, the emotions, and universal ideas. Through the study of a selection of artworks of four contemporary Mexican artists, this project will demonstrate how the death imagery that started to appear in the art of the 1990s marks a radical break from the traditional symbolism of the nationalistic imagery started by José Guadalupe Posada and Diego Rivera, reflecting no less than a reinvention of the national identity in the face of globalization. viii TABLE OF CONTENTS ACKNOWLEDGMENTS …………………………………………………………………..........v ABSTRACT .................................................................................................................................vii LIST OF ILLUSTRATIONS ……………………………..………...................…………………xi CHAPTER 1 MEXICAN DEATH: FROM NATIONALIST TO CONCEPTUAL …..................1 1.1 The Forgotten Case of ROCI Mexico …………………………………………...........1 1.2 Mexico in the 1980s …………………..………………………………………............4 1.3 The Hegemony of a Nationalist Pictorial Tradition …………..………………............8 1.4 Resistance Attempts: From Generación de Ruptura to Neoconceptualismo…….......12 1.5 Contemporary Mexican Art: Neoconceptualismo …..…………………………........16 1.6 The Uninterrupted Presence of Death…...……………………………………...........20 1.7 Towards a (Neo)Conceptual Death...…………………………………………….......23 CHAPTER 2 LANDLESS PEASANTS, LANDLESS ART ……………..……….....................27 2.1 Death, Land, and the Market...…………………………...………………..................27 2.2 The Land: From Restitution to Commodification (1917-1992)……..……................30 2.3 Neoconceptualism in Mexico …..…………………………………………...............43 2.4 The All-Embracing Neoliberal Thought..……………………………………............52 2.5 Landless Art or the Renegotiation of the Territory in Contemporary Mexican Art....57 2.6 Conclusion …..…………………………………………………………………........70 CHAPTER 3 NEITHER LAND NOR FREEDOM: NARCODEATH ART AND THE CRISIS OF PLACE ………………………………………………………………………………………72 3.1 Slim and el Chapo: Narcotraffic under Neoliberalism ……………………………...76 3.2 Narcotraffic and the Crisis of Place …………………………………………………81 3.3 On Narcoculture ……………………………………………………………………..83 3.4 Art’s Narco Turn …………………………………………………………………….87 3.5 Reclaiming the Territory: Narcodeath Art and the Sense of Place ………………….90 3.6 Narcodeath Art and the Revitalization of the Exceptionalist Myth …………………96 3.7 Al Cliente lo que Pida (Give the Client Whatever He Wants): Narcodeath Art Abroad ….........................................................................................................................101 ix 3.8 Territories of Violence ………………………………………………………..........104 3.9 Conclusion ………………………………………………………………………....109 CHAPTER 4 WHEN DEATH HITS HOME..............................................................................111 4.1 Death Hits Home …………………………………………………………………...114 4.2 Home as an Alternative Space ……………………………………………………..119 4.3 Ready-Made Death ……………………………………………………………...…135 4.4 When the House is No Longer a Home ……………………………………………141 4.5 Conclusion …………………………………………………………………………149 CHAPTER 5 WE ARE BAROQUE: THE ART OF THE ABSENT BODY ………..………..150 5.1 The Body in Mexican Art …………………………………………………...……..153 5.2 The Dead Body …………………………………………………………………….160 5.3 Affective Minimalism ……………………………………………………………...163 5.4 Conceptualism and Minimalism as Absence ………………………………………166 5.5 We Are Baroque …………………………………………………………………...170 5.6 Conclusion …………………………………………………………………………184 CHAPTER 6 FROM MARGINAL TO MAINSTREAM: MEXICAN DEATH ART 1988- PRESENT ……………………………………………………………………………………...186 6.1 El Astrónomo: Against the Fixity of Place ………………………………………..186 6.2 1988 to the Present ………………………..………………………………………..189 6.3 Further Considerations ………………………………………………………….....191 BIBLIOGRAPHY ……………………………………………………………………………...216 BIOGRAPHICAL SKETCH……………………………………………………………...........234 CURRICULUM VITAE x LIST OF ILLUSTRATIONS 1.1 Robert Rauschenberg, Altar Peace/ROCI MEXICO, 1985.............................................193 2.1 Gabriel de la Mora, Memoria I, 2007..............................................................................194 2.2 Zona MACO Logo, 2014................................................................................................194 2.3 Banner with Zona MACO Logo, 2015............................................................................195 2.4 Vicente Razo, Museo Salinas, 1996................................................................................195 2.5 Pablo Vargas Lugo, Sidewalk, 2003................................................................................196 2.6 Francisco Goitia, Viejo en el Muladar, 1927...................................................................197 2.7 Petronilo Monroy, Alegoría de la Constitución de 1857, c.1869....................................197
Load more

Recommended publications
  • Biennals 10-13 CUBAN
    Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo .
    [Show full text]
  • Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
    University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism
    [Show full text]
  • Modelos De Gestión De Galerías De Arte Contemporáneo
    COLEGIO DE HUMANIDADES Y CIENCIAS SOCIALES LICENCIATURA EN ARTE Y PATRIMONIO CULTURAL “Modelos de gestión de galerías de arte contemporáneo en la ciudad de México” TRABAJO RECEPCIONAL PARA OBTENER EL TÍTULO DE LICENCIADO EN ARTE Y PATRIMONIO CULTURAL PRESENTA: ABEL MATUS VERDUZCO Directora del trabajo recepcional: Mtra. Brenda Judith Caro Cocotle México, D.F., junio 2012 SISTEMA BIBLIOTECARIO DE INFORMACIÓN Y DOCUMENTACIÓN UNIVERSIDAD AUTÓNOMA DE LA CIUDAD DE MÉXICO COORDINACIÓN ACADÉMICA RESTRICCIONES DE USO PARA LAS TESIS DIGITALES DERECHOS RESERVADOS© La presente obra y cada uno de sus elementos está protegido por la Ley Federal del Derecho de Autor; por la Ley de la Universidad Autónoma de la Ciudad de México, así como lo dispuesto por el Estatuto General Orgánico de la Universidad Autónoma de la Ciudad de México; del mismo modo por lo establecido en el Acuerdo por el cual se aprueba la Norma mediante la que se Modifican, Adicionan y Derogan Diversas Disposiciones del Estatuto Orgánico de la Universidad de la Ciudad de México, aprobado por el Consejo de Gobierno el 29 de enero de 2002, con el objeto de definir las atribuciones de las diferentes unidades que forman la estructura de la Universidad Autónoma de la Ciudad de México como organismo público autónomo y lo establecido en el Reglamento de Titulación de la Universidad Autónoma de la Ciudad de México. Por lo que el uso de su contenido, así como cada una de las partes que lo integran y que están bajo la tutela de la Ley Federal de Derecho de Autor, obliga a quien haga uso de la presente obra a considerar que solo lo realizará si es para fines educativos, académicos, de investigación o informativos y se compromete a citar esta fuente, así como a su autor ó autores.
    [Show full text]
  • La Pocha Nostra Hidvl Artist Profiles
    LA POCHA NOSTRA HIDVL ARTIST PROFILES ON THE OTHER SIDE OF THE MEXICAN MIRROR (A border artist reflects on the new “post-national Mexicans,” their bittersweet relationship with "homeland,"and their role in the forming of a virtual nation inside the U.S. called “Latinoamerica del Norte.”) By: Guillermo Gómez-Peña I I left Mexico City in 1978 to study art in California, “the land of the future” as my lost generation saw it. Too young to be a hipiteca and too old to be a punketo, I was a 22-year old interstitial rebel, a writer and artist who couldn’t find space to breathe in the suffocating official culture of Mexico. There, the art and literary cartels were structured in an ecclesiastical fashion, accountable to one untouchable capo. He was the archbishop and final arbiter of what was acceptable as “high culture” and “Mexican-ness,” Don Octavio Paz. In those days, identity in Mexico was a static construct, intricately connected to national territory and language. A Mexican was someone who lived in Mexico and who spoke Spanish like a Mexican. Punto. There weren’t many alternative ways of being Mexican. Despite the fact that we came in all shapes, colors, and even races, mestizaje (the mixed race), was the official dictum and master narrative. Whether we liked it or not, we were the bastard children of Hernan Cortez and La Malinche, product of a colonial rape and a cultural cesarean, eternally condemned to come to terms with this historical trauma. The millions of indios, the original proto-Mexicans, were portrayed as living in a parallel (and mythical) time and space outside our history and society.
    [Show full text]
  • THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
    The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M.
    [Show full text]
  • 80 Aniversario Del Palacio De Bellas Artes
    INSTITUTO NACIONAL DE BELLAS ARTES Dirección de Difusión y Relaciones Públicas Subdirección de Prensa "2015, Año del Generalísimo José María Morelos y Pavón" México, D. F., a 19 de noviembre de 2015 Boletín Núm. 1570 Celebrará el Salón de la Plástica Mexicana su 66º aniversario con una serie de exposiciones, dentro y fuera de los muros del recinto La muestra principal será inaugurada el jueves 19 de noviembre a las 19:30 Recibirán reconocimientos Arturo García Bustos, Rina Lazo, Arturo Estrada, Guillermo Ceniceros, Luis Y. Aragón y Adolfo Mexiac el 8 de diciembre A lo largo de más de seis décadas de existencia, el Salón de la Plástica Mexicana (SPM) se ha caracterizado por ser extensivo e incluyente, y en el que todas las corrientes del arte mexicano y las generaciones de artistas tienen cabida. Así lo asevera Cecilia Santacruz Langagne, coordinadora general del organismo dependiente del Instituto Nacional de Bellas Artes (INBA), al informar que se celebrará su 66º aniversario con diversas actividades. Aun cuando el SPM ya no continúa con su vocación inicial –ser una galería de venta libre para la promoción de sus integrantes–, en ningún momento ha dejado de ser un referente para el arte mexicano, refiere Santacruz. Desde su fundación en 1949, el SPM ha incluido la obra más representativa de la plástica nacional. A pesar de las múltiples vicisitudes por las que ha atravesado, han formado parte de él cientos de pintores, escultores, grabadores, dibujantes, ceramistas y fotógrafos de todas las tendencias y generaciones. Paseo de la Reforma y Campo Marte S/N, Módulo A, 1er.
    [Show full text]
  • The Art of Conversation: Eighteenth-Century Mexican Casta Painting
    Graduate Journal of Visual and Material Culture Issue 5 I 2012 The Art of Conversation: Eighteenth-Century Mexican Casta Painting Mey-Yen Moriuchi ______________________________________________ Abstract: Traditionally, casta paintings have been interpreted as an isolated colonial Mexican art form and examined within the social historical moment in which they emerged. Casta paintings visually represented the miscegenation of the Spanish, Indian and Black African populations that constituted the new world and embraced a diverse terminology to demarcate the land’s mixed races. Racial mixing challenged established social and racial categories, and casta paintings sought to stabilize issues of race, gender and social status that were present in colonial Mexico. Concurrently, halfway across the world, another country’s artists were striving to find the visual vocabulary to represent its families, socio-economic class and genealogical lineage. I am referring to England and its eighteenth-century conversation pictures. Like casta paintings, English conversation pieces articulate beliefs about social and familial propriety. It is through the family unit and the presence of a child that a genealogical statement is made and an effigy is preserved for subsequent generations. Utilizing both invention and mimesis, artists of both genres emphasize costume and accessories in order to cater to particular stereotypes. I read casta paintings as conversations like their European counterparts—both internal conversations among the figures within the frame, and external ones between the figures, the artist and the beholder. It is my position that both casta paintings and conversation pieces demonstrate a similar concern with the construction of a particular self-image in the midst of societies that were apprehensive about the varying conflicting notions of socio-familial and socio-racial categories.
    [Show full text]
  • Title: the Avant-Garde in the Architecture and Visual Arts of Post
    1 Title: The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico Author: Fernando N. Winfield Architecture_media_politics_society. vol. 1, no.3. November 2012 Mexico City / Portrait of an Architect with the City as Background. Painting by Juan O´Gorman (1949). Museum of Modern Art, Mexico. Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque.’1 Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function.” Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the twentieth century, modern architecture was perhaps above all else, a tool for propaganda. ARCHITECTURE_MEDIA_POLITICS_SOCIETY Vol. 1, no.3. November 2012 1 2 In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque.” In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico.
    [Show full text]
  • KCHO Cv Cast
    KCHO Nueva Gerona, Isla de la Juventud, Cuba, 1970 Vive y trabaja en La Habana, Cuba PREMIOS 2007 Honor Prize, Instituto Superior de Arte, La Habana, Cuba 2001 Premio al Envío Cubano, IV Bienal del Caribe, Museo de Arte Moderno, Santo Domingo, República Dominicana 1999 Residence, Atelier Calder, Saché, Francia 1995 UNESCO Prize for Arts Promotion, UNESCO, París, Francia Grand Prize, Kwang Ju Biennial, Kwang Ju, Corea 1994 Ludwig Foundation scholarship , Ludwig Forum, Aachen, Alemania 1991 Salón Nacional de Profesores de Esculas se Arte, Centro Provincial de Artes Plásticas de Artes y Diseño, Havana, Cuba 1990 Asociación de Hermanos Saíz Prize, Municipal Salón de Artes Plásticas, Galería de Arte Nueva Gerona, Isla de la Juventud, Cuba EXPOSICIONES INDIVIDUALES (SELECCIÓN) 2014 Strange Day at the Beach , Centro de las Artes de San Agustín, Oaxaca, México The Thinker, The Ship , Kcho Study Romerillo, Laboratory for Art, La Habana, Cuba Via Crucis , Palazzo della Cancelleria, Ciudad del Vaticano, Roma, Italia 2013 Final Monument , Tega Gallery, Milán, Italia 2012 Gran Teatro de la Habana, La Habana, Cuba Between Melancholy and the Construction of the New Man, Malacón, La Habana, Cuba 2011 Anclado por un sueño (Anchored by a dream), Moncada Barracks, Santiago de Cuba, Cuba 2008 Kcho: Cadena de reunificación familiar, Marlborough Chelsea, Nueva York, USA 2007 El cuaderno del hombre de los pies de barro , Galería Juan Ruiz, Maracaibo, Venezuela El viaje , Museo de Arte Contemporáneo de Panamá, Ciudad de Panamá, Panamá Retrasando lo inevitable
    [Show full text]
  • The Casa Cristo Gardens in Guadalajara, Jalisco, Mexico
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2001 Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The aC sa Cristo Gardens in Guadalajara, Jalisco, Mexico Marcela De Obaldia Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Landscape Architecture Commons Recommended Citation De Obaldia, Marcela, "Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The asC a Cristo Gardens in Guadalajara, Jalisco, Mexico" (2001). LSU Master's Theses. 2239. https://digitalcommons.lsu.edu/gradschool_theses/2239 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. TOWARDS ESTABLISHING A PROCESS FOR PRESERVING HISTORIC LANDSCAPES IN MEXICO: THE CASA CRISTO GARDENS IN GUADALAJARA, JALISCO, MEXICO. A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master in Landscape Architecture in The Department of Landscape Architecture by Marcela De Obaldia B.Arch., Universidad Autónoma de Guadalajara, 1998 May 2002 DEDICATION To my parents, Idalia and José, for encouraging me to be always better. To my family, for their support, love, and for having faith in me. To Alejandro, for his unconditional help, and commitment. ii ACKNOWLEDGEMENTS I would like to thank all the people in the Department of Landscape Architecture for helping me to recognize the sensibility, kindness, and greatness behind a landscape, and the noble tasks that a landscape architect has in shaping them.
    [Show full text]
  • Art in the Twenty-First Century Screening Guide: Season
    art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities.
    [Show full text]
  • INFORME ANUAL CORRESPONDIENTE AL ÚLTIMO SEMESTRE DEL 2013 Y PRIMER SEMESTRE DE 2014
    INFORME ANUAL CORRESPONDIENTE AL ÚLTIMO SEMESTRE DEL 2013 y PRIMER SEMESTRE DE 2014. Informe presentado por el Consejo Directivo Nacional de la Sociedad Mexicana de Autores de las Artes Plásticas, Sociedad De Gestión Colectiva De Interés Público, correspondiente al segundo semestre del 2013 y lo correspondiente al año 2014 ante la Asamblea General de Socios. Nuestra Sociedad de Gestión ha tenido varios resultados importantes y destacables con ello hemos demostrado que a pesar de las problemáticas presentadas en nuestro país se puede tener una Sociedad de Gestión como la nuestra. Sociedades homologas como Arte Gestión de Ecuador quienes han recurrido al cierre de la misma por situaciones económicas habla de la crisis vivida en nuestros días en Latinoamérica. Casos como Guatemala, Colombia, Honduras en especial Centro América, son a lo referido, donde les son imposibles abrir una representación como Somaap para representar a sus autores plásticos, ante esto damos las gracias a todos quienes han hecho posible la creación y existencia de nuestra Sociedad Autoral y a quienes la han presidido en el pasado enriqueciéndola y dándoles el impulso para que siga existiendo. Es destacable mencionar los logros obtenidos en las diferentes administraciones donde cada una han tenido sus dificultades y sus aciertos, algunas más o menos que otras pero a todas les debemos la razón de que estemos en estos momentos y sobre una estructura solida para afrontar los embates, dando como resultado la seguridad de la permanencia por algunos años más de nuestra querida Somaap. Por ello, es importante seguir trabajando en conjunto para lograr la consolidación de la misma y poder pensar en la Somaap por muchas décadas en nuestro país, como lo ha sido en otras Sociedades de Gestión.
    [Show full text]