By R. Gallo

The last decade of the Nineties was once essentially the most turbulent classes in contemporary Mexican historical past marked through political assassinations, the Zapatista rebellion in Chiapas, the signing of NAFTA, a catastrophic fiscal challenge, and the defeat of the PRI after seventy years of one-party rule. How did artwork reply to those occasions? to respond to this question, Gallo examines the most radical creative experiments produced during this interval, from Daniela Rossell’s pictures of Mexican millionaires to Teresa Margolles’s manipulations of human is still, from Santiago Sierra’s debatable paintings with human topics to Vicente Razo’s construction of a Salinas museum.

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New Tendencies in Mexican Art: The 1990s (New Directions in Latino American Culture)

The last decade of the Nineties was once the most turbulent sessions in contemporary Mexican background marked by way of political assassinations, the Zapatista rebellion in Chiapas, the signing of NAFTA, a catastrophic financial hindrance, and the defeat of the PRI after seventy years of one-party rule. How did paintings reply to those occasions?

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The speakers are an eclectic bunch, including Antonio Alatorre, a professor at El Colegio de México and an authority on colonial literature; Gaby Vargas, an advice columnist and author of self-help books, and Eduardo Abaroa, one of the artists discussed in chapter one. Carlos Monsiváis, Mexico’s foremost cultural critic, was listed as a speaker but did not show up. For mysterious reasons (she tells reporters she has received threats and angry messages on her answering machine), Daniela Rossell makes a most unusual move: She does not join the presenters on stage; instead, she sends a double to impersonate her and to read a prepared statement vindicating ‘‘artistic freedom’’ and distancing herself from the criticism voiced in the press.

Clearly Kushigian’s study does not serve as a useful model for understanding Mexican orientalism—or even the profusion of Asian themes in the literature she studies—since her analyses accomplish little else besides passing a moral judgment: In her view, representations of the Orient are either well-meaning (as in the three authors she describes) or disparaging (as in the figures described by Said), and this ultimately amounts to a moralizing binarism that does not get us very far. What is lacking in Kushigian’s study—and what would prove extremely useful for understanding Mexican orientalism—is Said’s method of relating works of art and literature to the larger historical context in which they were created, especially his insistence on how representations of the Orient are always shaped by the extraliterary circumstances of the author’s life, including the political climate, cultural debates, and economic interests.

The country is still ruled by the PRI, and her family has close ties to the governing elite, a connection that opens the doors to some of the most exuberant homes in the city. She photographs the houses of her father, her grandparents, various aunts and uncles, and exhibits the snapshot-size prints at Temístocles, an artistrun center. V OYEURISM 49 1994–2001. The artist continues to photograph rich women. She expands her base of operations to include other cities, including Monterrey (home to the country’s powerful industrial elite) and New York.

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