Sunday, September 27, 2009
Sunday, September 20, 2009
Presencia Flagrante/ El Pasado ya no es lo que Era
Desde los territorios perdidos de el sur de la Alta California he partido en diversas expediciones al Mediterraneo maya, la Atlántida, la isla de Páscua en el imperio de el sol naciente, el Egipto Americano y diversas tierras prometidas tanto australes como en el Noreste de América, Las fotografías de magníficos palacios, templos y otros monumentos son testimonio de que los habitantes de dichas regiones descienden de grandes civilizaciones. Hay quien argumenta que estas maravillas solamente pueden haber sido realizadas por seres superiores provenientes de otro planeta. Otros argumentan que fueron realizadas por una de las tribus perdidas de Mesoamérica.
Este trabajo documenta y por lo tanto nos presenta una “falsa verdad” de lo “verdaderamente falso”. Mientras las ruinas originales reconstruidas se presentan como una falsa verdad las copias de estas son verdaderamente falsas. La fotografía digital se imprime no para poder materializar la imagen como era necesario hacer a partir de negativos sino para legitimizarla como arte y comercializarla como objeto a partir de convenciones ortodoxas. De hecho limitar las posibilidades audiovisuales digitales a la fotografía es ya de por si hacer una reconstrucción historicista.
“La originalidad de la obra de arte es que es real y falsa simultáneamente.”
Wednesday, September 16, 2009
Mario Rangel Faz 1956-2009
Monday, January 19, 2009
Other presidents of African descent in America.
Tuesday, July 15, 2008
Algunas reflexiones sobre la producción artística y la escritura de la historia.
Friday, June 6, 2008
Barbie Parachutes Onto Puerto Vallarta's Wal-Mart
Thursday, June 5, 2008
Barbie Desciende en Paracaidas en el Wal-Mart de Puerto Vallarta.
Sunday, September 23, 2007
Viva Mexico! at Zacheta National Gallery of Art in Warsaw.
Mientras Silverio se desgañitaba y la polka posmoderna de Nortec sonaba en Polonia tuve la oportunidad de beber vodka con salsa Tabasco y jugo de arándano. A este experimento globalizado le llaman "mad dog" y estaba bueno. Ojalá hubiera podido brindar con Ludwik Margules y Marcos Kurtycz para olvidar las penas de la trágica historia que en estos lares ha sido aún peor. A estos padres del teatro y el performance en México les dedico al menos mi parte de la exposición.
Sunday, September 2, 2007
UCLA is releasing in DVD the experimental documentary feature film Frontierland/Fronterilandia I did in collaboration with Jesse Lerner. Jesse is a filmmaker and has a blog called the American Egypt with his essays about film, photography and art. The next essay is an adaptation of the narration from the second chapter of Frontierland/Fronterilandia that was featured in Art Issues magazine. The film was funded by I.T.V.S. and originally aired on KCET in June 1995.
ORTIZ TORRES, Rubén, Jesse Lerner: "Spanish Caprice": Art Issues, no 41, January/February, Los Angeles, 1996, pp. 23-25.
Soon may the Papagos gather
Beneath the sacred shade
Where their fathers knelt 'round the Black-Robe
Listened, believed and prayed.
Soon may the Black-Robe's labor
The treasures of faith unfold.
And this mission bloom in the valley
As once it bloomed of old.
May its arches again re-echo
The sound of the vesper hymn,
And fervent souls to worship
Kneel in the shadow dim.
Brushed from each shrine and altar
The gathering dust and mold,
May the daily oblation be offered
Which the prophet hath foretold,
May its broken cross be uplifted,
And its bell more sweetly chime,
And its glory remain untarnished
Until the eve of time.
-Ildefonsus describing the mission San Xavier del Bac, ca, 1919
Where there is a noble past, or even the illusion of one, entrepreneurs, promoters and clientele are on their way. Thus while the origins of the late nineteenth-century “mission fever” were literary, the missions later inspired fiestas, parades, real state developments and tourism. The missions also attracted the attention of architects and their employers. Rather than transplanting alien and often inappropriate architectural forms from elsewhere, they hoped to develop a distinctly Californian style of building, appropriate to the climate and evocative of their particular understanding of the region's history.
While the original missions were designed as religious communities, the mission revival buildings had other uses. Given this alteration of function, architects relied on the quotation of a series of evocative elements.
Details which characterize the architecture of the missions, and which were paraphrased by builders in the late nineteenth and twentieth centuries, include: massive walls of adobe, (for which concrete and drywall were later substituted), the red tile roof, arcaded corridors, terraced bell towers, and the patio with fountain and garden.
Within a few years, the mission style had become the semi-official architecture of California. Architects built train stations, post offices, schools, airplane hangers, department stores, apartment buildings, bungalows, gas stations, presidential libraries, automobile clubs and fast food restaurants in this style. Endless permutations blended Mission style with-craftsman, Queen Anne, Federal and other diverse architectural styles. Mission elements were often mixed with or referred to as Spanish, Moorish, Romanesque, Oriental, Islamic, Latin and Mediterranean styles.
California's mission revival proved to be only the first of a series of architectural styles which migrated across the border from south to north.The architect Bertram Goodhue instigated a vogue for the more ornamental Mexican churrigueresco style with his designs for the 1915 International Exposition in San Diego. Architects such as Frank Lloyd Wright blended Aztec and Mayan elements with modernist forms, while others took these same pre-Columbian references in more flamboyant directions. While many of these fads proved to be short-lived, the Mission Revival has remained the most lasting and characteristic architectural style of the California landscape. Spreading from California, the taste for Mission Revival reached from New England to Tijuana to Vancouver's Chinatown and to Mexico City, where there emerge a Mexican reinterpretation of a North American copy of a colonial Mexican architectural style.
In Mexico, The Mission Revival or Colonial Californiano, as it became known there, referred less to the original missions than to the Hollywood dream. The buildings became more ornate, incorporating stained glass windows, elaborately carved stonework, and baroque elements. While modern Mexican architects disparaged the style as kitschy, phony affectation of the nouveau riche, a revolutionary revisionism later came to advocate a style that was called Neocolonial Nationalism. The resulting buildings looked much like those of the Colonial Californiano. The early work of Carlos Obregón Santacilia, the leading architect of the Revolution, includes Neocolonial Nationalist housing for the workers, though in his writings he dismissed the style as “pocho” (a slang word for someone that who speaks neither Spanish nor English properly). Ultimately, then, in reappropriating colonial architecture both Neocolonial Nationalism and Colonial Californiano emerged as something new. By the time a Mexican architect built a church in the Mission Revival style, it no longer looked like a mission. Mission Revival buildings, while they were always copies of something else, have subsequently been recognized as landmarks of architectural significance, both in Mexico and the United States. Today, ironically, some of these buildings have been declared historical monuments, a status which they had aimed for at the beginning.
Throughout the twentieth century, the Mission Revival style influenced many important modernist architects working in California, specially Secessionists like Irving Gill and Frances Underhill. But the Mission Revival and Modernism always made strange bedfellows. Anticipating later debates within postmodernism, the Mission Revival foreshadowed an interest in regional history as opposed to the development of a universal language --or international style--in architecture. Like the old Spanish Fiesta still celebrated today in Santa Barbara, the Mission Revival instigated a dialogue with the past that resonates in the present.