There is no doubt that the XIV FEMSA Biennial was a diverse and complex exercise in which, despite the pandemic circumstances, the region’s sensitivity was manifested through its artists.
Breton, Trotsky y Rivera, Manifiesto por un arte revolucionario independiente (Argentina: Biblioteca pensamiento socialista, 2020).
I would like to make a small note about a takeover that took place in November 2020 as a protest on the Inst*gram accounts of the biennial of which there is no record. At first, I thought it was an Inst*gram-style performance, then I thought maybe the person in charge of the accounts had missed a few posts. The truth is that this takeover as a form of protest by the social media manager reflects the precariousness that many of the workers of the biennial, regardless of hierarchy, felt during the confinement in the face of the challenges brought by the pandemic and the discrepancies between the realities of a corporation like FEMSA and the cultural workers who work for it. On the other hand, it makes me question whether the private institutions that promote contemporary art in Mexico do not replicate colonialist strategies through the appropriation of techniques, discourses, and sensibility of the communities and localities where they work. There’s still much to discuss on these issues.
Eugenia Martínez, Clyo Mendoza
Ongoing CDMX Mexico
Projector Buenos Aires Argentina
Celeste Onaindia, Andrea Guzmán, Diego Trerotola