Amy Sara Carroll

REMEX

Toward an Art History of the NAFTA Era

• Broschiertes Buch

Produktbeschreibung

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.

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Produktdetails

• Verlag: University of Texas Press
• Seitenzahl: 420
• Erscheinungstermin: 13. Dezember 2017
• Englisch
• Abmessung: 229mm x 152mm x 25mm
• Gewicht: 679g
• ISBN-13: 9781477311370
• ISBN-10: 1477311378
• Artikelnr.: 49667310

Autorenporträt

By Amy Sara Carroll

Inhaltsangabe

1. Prelude. The Allegorical Performative
2. Introduction. Remix re: Mex REMEX: Toward an Art History of the NAFTA
Era
3. City
4. 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 Lifeworlds
5. Post-1994 GDPS and Labor Wars; Institutional Critique and Incorporation
* The Almost Ex-Teresa Generation
* Vicente Razo’s Anthropological Materialism
* Yoshua Okón’s Art and Administration
* Minerva Cuevas’s Logocentrism
* Francis Alÿs, Santiago Sierra, and the Age of Cuauhtémoc
* Teresa Margolles, Remaindered
6. Woman
7. ¿Desmodernidad? Literalists to the Core!
* Polvo de Gallina Negra’s Maternal Prosthesis
8. Reallegorizing the Female Form
* Lorena Wolffer’s “El Derecho de Réplica”
* Katia Tirado’s Pub(l)ic Niches
* Silvia Gruner’s Fucked-Up Ethnographies
* Nao Bustamante’s Inter-American Pageantry
9. Border
10. NAFTA-Era Performance and Conceptualism’s Prehistory
* Art and Design: The Mexico-US Border after 1965
* The Border Art Workshop/Taller de Arte Fronterizo’s Open Door and
Laboratory
11. Post-1994 GDPS and Labor Wars; Institutional Critique and Incorporation
* Guillermo Gómez-Peña’s North American Free Art Agreement
* inSITE Specificity/Tijuana, Capital of the Twenty-First Century
* From 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, _________)
12. Postlude. REMEX re: Mex Remix: Untoward Art Histories of the Third
Millennium
13. Acknowledgments
14. Notes
15. References
16. Index