Description
Book SynopsisFeaturing dozens of compelling images, this transformative reading of borderland and Mexican cultural productionfrom body art to theater, photography, and architecturedraws on extensive primary research to trace more than two decades of social and polit
Trade ReviewREMEX 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 *
Table of Contents
- Prelude. The Allegorical Performative
- Introduction. Remix || re: Mex || REMEX: Toward an Art History of the NAFTA Era
- City
- 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
- 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
- Woman
- ¿Desmodernidad? Literalists to the Core!
- Polvo de Gallina Negra’s Maternal Prosthesis
- 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
- Border
- 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
- 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, _________)
- Postlude. REMEX || re: Mex || Remix: Untoward Art Histories of the Third Millennium
- Acknowledgments
- Notes
- References
- Index
