The collective Arte 360 Grados reflects on contemporary art as an apparatus of hegemonic ideologization, which in the context of Mexico reproduces a cultural policy of mestizaje, reinforcing cognitive ties with colonial power.
Irmgard Emmelhainz, “El cercamiento neo-liberal de la representación. La intensificación del punto ciego de la modernidad: la colonialidad,” Re-Visiones 7 (2017). Available at: https://dialnet.unirioja.es/servlet/articulo?codigo=6854418.
Twitter, @YasnayaEG, August 22, 2020, https://twitter.com/yasnayaeg/status/1297349791899213824.
Amor Muñoz, “Oto_Lab”, https://amormunoz.net/2015/12/09/oto_lab/.
Amor Muñoz, “Chihuahua -Tech LAB”, https://amormunoz.net/2015/11/20/chihuahua-tech-lab/.
Vermelho, “ARCOmadrid 2020. Booth G09”, 17. https://galeriavermelho.com.br/sites/default/files/arcomadrid2020.pdf.
Translator’s note: Broken Spears is the book’s title in English, but a literal translation would be “Vision of the Conquered.”
Rogelio Sosa, “Ocaso de los soles”: https://www.rogeliososa.com/odls.
Some more examples of this include the activities designed by the University Museum of Contemporary Art (MUAC): the exhibition Chto Delat, curated by Cuauhtémoc Medina and Alejandra Labastida in 2017, which includes El nuevo callejón sin salida Escuela de verano de orientación en Zapatismo (2017), “a new work developed through the interaction with Zapatistas in Chiapas: #17”; Ai Weiwei’s 2014 visit to Mexico, during which time the artista explored the personal and social consequences of the disappearance of the 43 students from the Escuela Normal Rural de Ayotzinapa, a topic which was also explored in the exhibition Hacia una estética investigativa by the collective Forensic Architecture and curated by Rosario Güiraldes in 2017.