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Marginalia

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07.08.2018

MARGINALIA #38

Por oro oro oro
July 1, 2018 – July 31, 2018

Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the identity of our guest is revealed and the whole series of images is unveiled.

 

“Despite a long movement, led by prominent intellectuals, and (of) the conclusions of a Truth Commission, Presidencies have refused to give information. The response to the repeated demand was that official records will not be opened for up to 50 years (when the main witnesses and survivors have [already] died) since it is considered a state secret.” [1]

What is the event here? They were a series of actions that start from the project called Memorias visuales afectivas [Affective visual memories], which evokes and recognizes the affectivities contained in memories. Within the narrative of this “event”, six women were invited to contribute through their vision to the construction of a story embodied from a different perspective than the traditional patriarchal one. The theme under which this visual essay was developed was around the year of 1968 and the set of social mobilizations generated in Mexico and around the world. As a premise of the collaboration, the six mail artists were asked to develop a composition that could integrate text and image to account, through these elements, for the emotions generated by the historical memory of the 68. The envelope was the medium through which the suggestions were given, and the papers the support that served as receptacle of the memories of each mail artist, since being six, each one represented a decade. These works were displayed in a “blind date” in the month of May (on the occasion of the 50th anniversary of French Red May) at Kiosko by Fundación Alumnos, Mexico City.

List of participants: Gemma Argüello, Cinthya García Leyva, Verónica Gerber, Frida Robles, Lorena Tabares, Cristina Torres Valle 

What is the event here? It is a derivative of the process project Memorias visuales afectivas [Affective visual memories] that has been developed from 2017 to the present day and will conclude with the presentation of a publication in September at the Paper Works art book fair, with the participation of two more collaborators: Clara Bolivar with an introductory text and editorial review, and Emicel Mata in charge of editorial design. We thank Lorena Tabares and María Fernanda Espinoza for the photographic record of the archive and the blind date action; also to Diana Cantarey and Eva Posas for the facilities granted at Fundación Alumnos.

oro oro oro is a form of work that is constituted by an anonymous entity, a curator and a work commissioner. Through authorial dissolution, it generates collaborative proposals in which anyone who participates is oro oro oro. It is located in Mexico working in locations such as Mexico City, Puebla and Guatemala. In its research it explores the Mexican artistic processes that go from the decade of the 60s to the 90s to propose re-readings and reappropriations of them.

[1]Georges Roque, Aproximaciones argumentativas a la gráfica del 68 en México, CURARE Espacio Crítico para las Artes, Spring 1997, 141.

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