New Tendencies in Mexican Art

Gallo, Rubén

doi:10.1057/9781403982650

Cited by 11 publications

(4 citation statements)

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“…(2) Aly« s's studio has long been located in the Centro downtown district of Mexico City. Although his work has become highly international, his explorations and encounters there as well as his wider concern about the place of Mexico and Latin America within uneven processes of capitalist development inspire many of his projects (see Gallo, 2004;Medina, 1997;).…”

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confidence: 99%

Errant Paths: The Poetics and Politics of Walking

Pinder

2011

Environ Plan D

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Walking has moved into increasing visibility in social, cultural, and geographical studies as well as art and cultural practice in recent times. Walking practices are often mobilised as a means for sensing and learning about spaces, for enabling reflection on the mutual constitution of bodies and landscapes, and for finding meaning within and potentially re-enchanting environments. Through the influence of Michel de Certeau in particular, the idea that walking ‘encunciates’ spaces and is a creative, elusive, and resistive everyday practice, counterpoised to the ‘solar eye’, has become commonplace. This paper focuses on projects by the artist Francis Alÿs that are based on walking in London and other cities, to consider their engagements with the politics of urban space. Attention is paid to walking as his method of unfolding stories, and to its potential to unsettle and bring into question current realities, especially in the context of the regulated, fortified, and surveilled zones of London. Addressing the poetics and politics of his spatial practices, however, reveals the inadequacy of undifferentiated models of creative resistance, nomadism, and subversion beloved of much recent theory, and often endorsed through a partial reading of Certeau. Instead, the openness and ambivalence of these practices suggest a need for a more nuanced approach to the multiple rhythms, trajectories, and narratives that constitute urban spaces as well as to their contested (in)visibilities.

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confidence: 99%

Errant Paths: The Poetics and Politics of Walking

Pinder

2011

Environ Plan D

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“…The idea of being 'shocked' upon viewing Margolles' artwork has been explored by Banwell (2015: 73-74), Medina (2004) and Gallo (2004) through Julia Kristeva's exploration of death as abject. Banwell (2015: 44) describes the abject as producing 'feelings of profound discomfort' when an individual is 'confronted by something that causes distress', and as being particularly disturbing when it threatens the security of individuals.…”

Section: Breaking Brick Boundariesmentioning

confidence: 99%

‘No Soy un Activista, Soy un Artista’: Representations of the Feminicide at the Intersections of Art and Activism

Cooper

2021

Bull Latin American Res

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Raising questions of the disposability of victims of feminicide in Ciudad Juárez, Mexico, Teresa Margolles' installation Lote Bravo (2005) is compared with the grassroots activist group Voces Sin Eco's Cross Campaign and Humberto Macías Martínez's Muralist Movement. These responses to the feminicidio are considered as interrogating and negating the ideas and ideals of art‐activism. Exploring the problematics of Lote Bravo, a new reading of the installation as an ‘artivist’ work is offered, identifying a certain potential beyond Mexico.

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“…SEMEFO refers to the morgue in Mexico City.10 RubénGallo (2004). New Tendencies in Mexican Art: The 1990s.…”

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confidence: 99%