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El espía de Franco
«¿Para qué abrir heridas? Que si el mestizaje, que si lo mexicano, que si lo español... Y peor aún si van ligados a traumas históricos, corrupción, dictaduras, farsas.» José Gallostra llevaba dos años fungiendo como ministro extraoficial de la España franquista cuando, el 20 de febrero de 1950, fue asesinado a tiros en una calle de la Ciudad de México. Gallostra actuaba en realidad no como embajador, sino como un espía político, y servía de enlace en operaciones ilícitas, en contubernio con algunos personajes de la colonia española. Aparte de provocar un conflicto diplomático, y de que su ejecutor material, un evidente sicario, ni siquiera se resistió al arresto, su asesin...
Radical Poetry
Engages in a critical reanalysis of historical Ibero-American experimental poetry in order to demonstrate how the contemporary digital vanguard owes much to this tradition. With a broad geographic and linguistic sweep covering more than one hundred years of poetry, this book investigates the relationships between and among technology, aesthetics, and politics in Ibero-American experimental poetry. Eduardo Ledesma analyzes visual, concrete, kinetic, and digital poetry that questions what the literary means, what constitutes poetry, and how, if at all, visual and verbal arts should be differentiated. Radical Poetry examines how poets use the latest technologies (cinematography, radio, tele...
Pablo O'Higgins
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Resisting Categories: Latin American and/or Latino?
DIV This first volume of the Critical Documents of 20th-Century Latin American and Latino Art series published by the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, presents 168 crucial texts written by influential artists, critics, curators, journalists, and intellectuals whose writings shed light on questions relating to what it means to be "Latin American" and/or "Latino." Reinforced within a critical framework, the documents address converging issues, including: the construct of "Latin-ness" itself; the persistent longing for a continental identity; notions of Pan–Latin Americanism; the emergence of collections and exhibitions devoted specificall...
Festschrift
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Yvonne Domenge
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Diego Rivera
In 1931, Diego Rivera was the subject of The Museum of Modern Art's second monographic exhibition, which set attendance records in its five-week run. The Museum brought Rivera to NewYork six weeks before the opening and provided him a studio space in the building. There he produced five 'portable murals' - large blocks of frescoed plaster, slaked lime and wood that feature bold images drawn from Mexican subject matter and address themes of revolution and class inequity. After the opening, to great publicity, Rivera added three more murals, taking on NewYork subjects through monumental images of the urban working class. Published in conjunction with an exhibition that brings together key works from Rivera's 1931 show and related material, this vividly illustrated catalogue casts the artist as a highly cosmopolitan figure who moved between Russia, Mexico and the United States and examines the intersection of art-making and radical politics in the 1930s.
Gilberto Aceves Navarro
Retrospective on master artist Gilberto Aceves Navarro (b. Mexico 1931), in what represents the chronological presentation of the artwork of one of the members of the Generation of Rupture (along with José Luis Cuevas, Francisco Toledo and others), a group of younger artists who disassociated themselves from the previous generation of artists of the 20th century Mexican School of Painting. Aceves Navarro art production reflects his tendency to break with aesthetic paradigms to find new ways of expressing his creativity; he has experimented with different techniques and genres, including: painting, sculpture, murals, drawings, engraving conceptual art, installations, monumental art, and theater stage designs.
Voices of Mexico
News, commentary, and documents on current events in Mexico and Latin America.
