Desde la privatización de la banca en México, el Fobaproa y el arte como territorio independiente, Daniel Aguilar Ruvalcaba elabora un plan para poder pagar la deuda de su padre con la beca BBVA Bancomer.
Enrique Krauze, La presidencia imperial, (Tusquets, 1997), 34.
Mexico’s Expropriation Act (Ley de expropiación) was published in the nation’s Official Federal Gazette (Diario Oficial de la Federación) on November 25, 1936. Federal Chamber of Deputies Library, consulted online in September 2017.
In a few years, fellowships from the Fondo Nacional para la Cultura y las Artes will also be relegated to the cabinet of curiosities.
Though in post-Brexit England similar things are being proposed. Nick Srnicek, “We Need to Nationalise Google, Facebook and Amazon. Here’s Why,” The Guardian, August 30, 2017. https://www. theguardian.com/commentisfree/2017/aug/30/nationalise-google-facebook-amazon-data-monopoly-platform-public-interest
“Los 5 bancos con mayores utilidades en 2016,” El Financiero, January 5, 2017. http://www.elfinanciero.com.mx/rankings/los-bancos-con-mayores-utilidades-hasta-noviembre-de-2016.html
Wikipedia: “Consenso de Washington.”
From the so-called Reporte Índigo. México: El tesoro de BBVA, November 5, 2012. http://www.reporteindigo.com/reporte/mexico-el-tesoro-de-bbva/
Wikipedia: “Fondo Bancario de Protección al Ahorro.”
“What ultimately makes the difference between a box of Brillo pads and an artwork consisting of a Brillo Box is a certain art theory, the theory that lets it ascend to the art world, that prevents it from collapsing into the real object that it is (in a sense of is that is different from that of artistic identification). Naturally, lacking the theory, it’s not likely you can see it as art and so to see it as part of the art world you need to be on top of a great deal of art theory as well as a considerable amount of recent painting history in New York. Fifty years ago, it couldn’t have been art. But, of course, all things being equal, there couldn’t have been flight insurance in the Middle Ages or Etruscan erasers for typewriters. The world has to be ready for certain things, the world of art no less than the real world. The role of arts theorists, today as always, is to make the art world and art—possible. I can’t imagine the painters at Lascaux ever imagined they were producing art on those walls.” Arthur Danto, El mundo del arte, (Universidad de Salamanca, Spain). [N.B.: Translator’s rendition of Ruvalcaba’s Spanish-language citation.]
“It could be said the practice of the installation reveals the act of sovereign and unconditional violence that initially establishes all democratic order. We know that democratic order never arises democratically; democratic order always emerges as the outcome of a violent revolution. Setting up one law means breaking another. The first legislator can never act legitimately: he installs political order but he does not lie within it. He remains alien to that order even if he then decides to submit to it. An artistic installation’s author is also that legislator that offers a space where the community of visitors can constitute itself and define the rules to which that community must submit, but does so without belonging to that community, always remaining outside it. This continues to be true even if the artist decides to become a part of the community he has created. This second step must not lead us to ignore the first one, i.e., sovereignty.” Boris Groys, “Política de la instalación. Un ensayo sobre las tensiones políticas que sugieren las instalaciones en el arte contemporáneo,” Horizontal, January 13, 2016. http://horizontal.mx/politica-de-la-instalacion/ [N.B.: Translator’s rendition of Ruvalcaba’s Spanish-language citation.]
YouTube: The People Who Rule the World’s Smallest Countries (HBO), Vice News, August 3, 2017.