REMEX

Toward an Art History of the NAFTA Era

Häftad, Engelska, 2017

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REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates-City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman.A tour de force that depicts a feedback loop of art and public policy-what Carroll terms the “allegorical performative”-REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad JuÁrez, and Mexico’s war on drugs.

Produktinformation

Utgivningsdatum2017-12-13
Mått152 x 229 x 25 mm
Vikt513 g
FormatHäftad
SpråkEngelska
Antal sidor416
FörlagUniversity of Texas Press
ISBN9781477311370

Tillhör följande kategorier

Konsthistoria inom Kultur
Amerikas historia inom Historia och arkeologi

Amy Sara Carroll, a 2017–2018 Society Fellow in Cornell University’s Society for the Humanities, is the author of two poetry collections SECESSION and FANNIE + FREDDIE/The Sentimentality of Post-9/11 Pornography, chosen by Claudia Rankine for Fordham University’s Poets Out Loud Prize. Since 2008, Carroll also has been a member of Electronic Disturbance Theater 2.0/b.a.n.g. lab, coproducing the Transborder Immigrant Tool.

Prelude. The Allegorical PerformativeIntroduction. Remix re: Mex REMEX: Toward an Art History of the NAFTA EraCity Nafta-Era Performance and Conceptualism’s Prehistory Mexico City, Readymade: The “PIAS Forms,” Mexico's 1968, and Los Grupos"Naco" as the Taco: No-Grupo, Maris Bustamante’s La patente del taco, and Melquiades Herrera’s Object LifeworldsPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation The Almost Ex-Teresa GenerationVicente Razo’s Anthropological MaterialismYoshua OkÓn’s Art and AdministrationMinerva Cuevas’s LogocentrismFrancis Alÿs, Santiago Sierra, and the Age of CuauhtÉmocTeresa Margolles, RemainderedWoman ¿Desmodernidad? Literalists to the Core! Polvo de Gallina Negra’s Maternal ProsthesisReallegorizing the Female Form Lorena Wolffer’s “El Derecho de RÉplica”Katia Tirado’s Pub(l)ic NichesSilvia Gruner’s Fucked-Up EthnographiesNao Bustamante’s Inter-American PageantryBorder NAFTA-Era Performance and Conceptualism’s Prehistory Art and Design: The Mexico-US Border after 1965The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and LaboratoryPost-1994 GDPS and Labor Wars; Institutional Critique and Incorporation Guillermo GÓmez-PeÑa’s North American Free Art AgreementinSITE Specificity/Tijuana, Capital of the Twenty-First CenturyFrom Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________)Postlude. REMEX re: Mex Remix: Untoward Art Histories of the Third MillenniumAcknowledgmentsNotesReferencesIndex

REMEX can be read as another form of the atlas, with the fundamental difference that it is a cartography that maps and interprets the archive it produces…Carroll's book offers the clearest vision of the path that Mexican art took during the consolidation of the neoliberal paradigm...its research on sources and problems is exhaustive. (Journal of Latin American Cultural Studies) Carroll's superb research makes a seismic contribution to understanding Mexican and US Mexico border art in the post-NAFTA age. Aside from being an essential book in US-Mexico art, borderlands, history, interdisciplinary studies, political science, and women's studies courses, REMEX needs to be on everyone's reading list so we can all make sense of how we got to the haze permeating our countries. (Chiricú Journal) [REMEX] presents a welcome challenge to existing histories of Mexican art since 1984 and is a significant contribution to the growing field of border art studies...By critically examining canonical and lesser-known artists alike, REMEX reveals a nuanced and complex new understanding of the impact of neoliberal economic policy and the Mexican culture industry...Indeed, the consistent and well-researched political and economic parallels that are brought into dialog with interdependent movements in the art world constitute a great strength of this book. Carroll’s expanded borders, made possible by the parsing of performative allegory, open avenues for examining other (non)sites shaped by NAFTA and will undoubtedly influence future studies of the period. (Latin American and Latinx Visual Culture) Carroll’s [REMEX] is an attempt to write a history of Mexican art of [the NAFTA era] and, in so doing, to propose an alternative lineage for Latin American Conceptualism. (ARTMargins)