Octavio Avendaño (ed.)
Mitos oficiales
Barcelona: Editorial RM, 2014
145 páginas / pages
Mitos oficiales
Barcelona: Editorial RM, 2014
145 páginas / pages
Mitos oficiales contiene microhistorias de artistas, curadores y críticos de arte quienes le dan volumen, complejidad y una gama amplia de tonalidades respecto a la unidireccional historia oficial Las imágenes están acompañadas con una muestra de memoria de cada uno de los artistas que dieron origen a sus obras; relatos que se tejen entre el recuerdo de los eventos vividos, las historias escuchadas y la Historia aprendida. La segunda parte es una crónica colectiva de los años 90, esbozada a partir de pequeños fragmentos de recuerdos de 36 participantes, todos ellos involucrados de diferentes maneras en el ámbito artístico y cultural de México.El libro, que ofrece múltiples miradas sobre diversos temas: el arte, la corrupción, la identidad, el narcotráfico, el racismo, la violencia es, primero, una publicación anti neoliberal, cuyos colores en la portada (negro y rojo) la delatan. Segundo, es un concierto de voces marcadamente desigual, en el que las sensatas son más bien escasas. Y tercero, es un contenedor de memoria y también de nostalgia por un pasado que el neoliberalismo arrebató.
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Mitos oficiales contains micro-histories from artists, curators, and art critics who add depth, complexity, and a wide range of tones to the otherwise unidirectional official history. The images are accompanied by a fragment of memory from each artist, revealing the origins of their works—narratives woven from lived experiences, heard stories, and learned History. The second part of the book is a collective chronicle of the 1990s, outlined through brief fragments of memories from 36 participants, all of whom were involved in different ways in Mexico’s artistic and cultural sphere. This book offers multiple perspectives on various topics—art, corruption, identity, drug trafficking, racism, and violence. First, it is an anti-neoliberal publication, with its black-and-red cover making this stance clear. Second, it is a markedly uneven chorus of voices, where reasoned perspectives are rather scarce. And third, it is both a container of memory and a reflection of nostalgia for a past that neoliberalism has taken away.
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Mitos oficiales contains micro-histories from artists, curators, and art critics who add depth, complexity, and a wide range of tones to the otherwise unidirectional official history. The images are accompanied by a fragment of memory from each artist, revealing the origins of their works—narratives woven from lived experiences, heard stories, and learned History. The second part of the book is a collective chronicle of the 1990s, outlined through brief fragments of memories from 36 participants, all of whom were involved in different ways in Mexico’s artistic and cultural sphere. This book offers multiple perspectives on various topics—art, corruption, identity, drug trafficking, racism, and violence. First, it is an anti-neoliberal publication, with its black-and-red cover making this stance clear. Second, it is a markedly uneven chorus of voices, where reasoned perspectives are rather scarce. And third, it is both a container of memory and a reflection of nostalgia for a past that neoliberalism has taken away.