Bibliografie tematyczne: „Palacio de la Inquisición (Mexico City, Mexico)”

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Flores-Marcial, Xóchitl M. "Getting Community Engagement Right". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 98–108. http://dx.doi.org/10.1525/lavc.2021.3.1.98.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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Vargas-Santiago, Luis. "Emiliano". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 109–19. http://dx.doi.org/10.1525/lavc.2021.3.1.109.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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Ortiz-Torres, Rubén. "Mexicos and Americas". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 70–79. http://dx.doi.org/10.1525/lavc.2021.3.1.70.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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Bargellini, Clara. "Looking Back at The Arts of the Missions of Northern New Spain, 1600–1821". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 80–87. http://dx.doi.org/10.1525/lavc.2021.3.1.80.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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Richter, Kim N. "Golden Kingdoms at Getty". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 88–97. http://dx.doi.org/10.1525/lavc.2021.3.1.88.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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Josten, Jennifer. "Dialogues". Latin American and Latinx Visual Culture 3, nr 1 (1.01.2021): 60–69. http://dx.doi.org/10.1525/lavc.2021.3.1.60.

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Greater Mexico refers both to the geographic region encompassing modern Mexico and its former territories in the United States, and to the Mexican cultural diaspora. Exhibitions of visual and material culture from greater Mexico have played an important role in articulating identities and affiliations that transcend limited definitions of citizenship. Following an introductory text by Jennifer Josten, five scholars offer firsthand insights into the intellectual, diplomatic, and logistical concerns underpinning key border-crossing exhibitions of the “NAFTA era.” Rubén Ortiz-Torres writes from his unique perspective as a Mexico City–based artist who began exhibiting in the United States in the late 1980s, and as a curator of recent exhibitions that highlight the existence of multiple Mexicos and Americas. Clara Bargellini reflects on a paradigm-shifting cross-border exhibition of the viceregal arts of the missions of northern New Spain. Kim N. Richter considers how the arts of ancient Mesoamerica and the Americas writ large figured within the Getty Foundation’s 2017 Pacific Standard Time: LA/LA initiative. Xóchitl M. Flores-Marcial offers insights into productive institutional collaborations with transnational Indigenous stakeholders, focusing on two recent Southern California exhibitions of the Oaxaca-based Tlacolulokos collective. Luis Vargas-Santiago discusses how Chicana/o/x art entered Mexico City’s Palacio de Bellas Artes in 2019 as a crucial component of an exhibition about how Mexican revolutionary Emiliano Zapata’s image has migrated through visual culture. Together, these texts demonstrate how exhibitions can act in the service of advancing more nuanced understandings of cultural and political interactions across greater Mexico.

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García Corona, León F. "Duke Ellington, El Rey del Jazz and the Mexico City Massacre of 1968". Journal of the Society for American Music 16, nr 1 (luty 2022): 69–91. http://dx.doi.org/10.1017/s1752196321000481.

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AbstractFrom September 24 to October 2, 1968, two apparently unrelated events took place in an area of less than two square miles in downtown Mexico City: Duke Ellington performed in the Palacio de Bellas Artes, and the Mexican army massacred hundreds of protesting students. The student-driven movement of 1968 attracted people from different backgrounds in Mexican society. Their desire for freedom of speech and civil liberties echoed the struggles of the Civil Rights movement in the United States. Received as El rey del jazz (the King of Jazz), Ellington's visit to Mexico constituted a musical place of cultural encounters. In this essay, I explore the connections between jazz, cultural diplomacy, race, and social justice. I argue that neither paradoxes nor seeming contradictions account for the fluidity of social activism on both sides of the border and its connections with playing and listening practices of jazz; rather I look at this social phenomenon as an example of an audiotopia, borrowing Josh Kun's term for a musical space of differences where contradictions and conflicts don't cancel each other out—a kind of identificatory contact zone. I do so by setting aside nationalistic approaches to music and viewing jazz as more than an emblem of U.S. national identity; rather, I explore the transnational aspects of the cultural artifacts resulting from these exchanges and the dynamic processes that took place in Ellington's visit with and among Mexicans.

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Meléndez Escalante, Tanya. "El Arte de la Indumentaria y la Moda en México, 1940–2015, Palacio de Cultura Banamex-Palacio de Iturbide, Mexico City, May 4–September 25, 2016". Fashion Theory 24, nr 2 (29.10.2018): 265–71. http://dx.doi.org/10.1080/1362704x.2018.1499195.

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Vázquez Pinacho, Yadira. "México y Puebla; del centro comercial a la ciudad. La construcción de nuevos territorios urbanos". Revista Trace, nr 51 (10.07.2018): 56. http://dx.doi.org/10.22134/trace.51.2007.407.

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El siglo XX fue quizás el del consumo y una gran parte de los espacios que se edificaron fue consagrada a esta actividad. El centro comercial, una creación estadounidense, fue rápidamente aceptado por los grupos comerciales mexicanos, quienes construyeron los primeros malls en la Ciudad de México a finales de los años 60. A partir de esa década, estos espacios se multiplicaron siguiendo las estrategias de expansión de las empresas. El gobierno controla este crecimiento a través de los permisos de construcción y funcionamiento. Sin embargo los grandes proyectos privados no están siempre ligados a una visión integral de la ciudad. El estudio de dos casos, Santa Fe (en el Distrito Federal) y Angelópolis (en Puebla), nos permite observar el rol que puede jugar el centro comercial en la transformación del espacio urbano, particularmente en la creación y consolidación de una zona. En estos ejemplos están involucradas no sólo las grandes cadenas de distribución como El Puerto de Liverpool, El Palacio de Hierro o Sears, sino también una serie de instituciones e instrumentos gubernamentales. ¿Cuál es el origen de éstos nuevos centros comerciales?, ¿qué papel desempeñó el poder público y la iniciativa privada en dichos proyectos y en su construcción?, ¿cuáles son los resultados? Estas son algunas de las preguntas que guían el presente artículo.Abstract: The idea of a consumer society almost certainly began in the 20th century and a great part of the spaces built were consecrated to this design. The mall, an American creation, was quickly accepted by the Mexican commercial groups, who constructed the first malls in Mexico City at the end of the 60’s. Since then, these spaces have multiplied following the expansion’s corporate strategies. The government controls this growth by overseeing construction and operation. Nevertheless the many private projects are not always attached to an integral vision of the city. The study of two cases: Santa Fe (in Mexico City) and Angelópolis (in Puebla) allow us to understand the role that a mall can play in the transformation of the urban space, particularly in the creation and consolidation of a zone. These examples include the main chains of distribution like El Puerto de Liverpool, El Palacio de Hierro or Sears, but also some governmental institutions. What is the origin of these new malls? What were the roles of the private and public sectors in these projects and their construction? What are the results? These are some of the questions discussed in this article.Résumé : Le XXe siècle aura sans doute été marqué par le déploiement de la consommation, et de nombreux édifices construits ont cette fonction. Le centre commercial, une création étatsunienne, a été rapidement adopté par les groupes commerciaux mexicains qui ont bâti leurs premiers malls dans la ville de Mexico à la fin des années 60. C’est à partir de cette décennie que ces espaces se sont multipliés suivant les stratégies d’expansion des entreprises. Les pouvoirs publics contrôlent leur croissance et leur fonctionnement à travers les permis de construction ; cependant, les grands projets privés ne sont pas toujours portés par une vision intégrale de la ville. Les études de cas de Santa Fe dans la ville de Mexico et d’Angelopolis à Puebla nous permettent d’observer le rôle que peut jouer un centre commercial dans la transformation de l’espace urbain, particulièrement dans sa création et sa consolidation. Des grandes chaînes de distribution comme Liverpool, le Palacio de Hierro ou Sears, mais aussi plusieurs institutions et organes publics sont investis dans le développement urbain de ces territoires. Quelle est donc l’origine de ces centres commerciaux ? Quel rôle ont joué les pouvoirs publics et les agents privés dans ces projets ? Quels sont leurs effets ? Telles sont les questions posées dans cet article.

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Santoyo-Martínez, Miguel, Anahí Aguilera, Ángeles Gallegos, Cristo Puente, Avto Goguitchaichvili i Francisco Bautista. "Pollution Levels and Potential Health Risks of Potentially Toxic Elements in Indoor and Outdoor Dust during the COVID-19 Era in Gómez Palacios City, Mexico". Land 12, nr 1 (22.12.2022): 29. http://dx.doi.org/10.3390/land12010029.

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The COVID-19 pandemic has caused a decrease in outdoor activities, but an increase in indoor ones. This change in the intensity of land use has caused changes in pollution patterns. Urban dust contaminated with heavy metals can be a risk to the human population. Therefore, the objective of this work was to evaluate the pollution caused by heavy metals in urban dust indoors and outdoors due to changes in land use during the pandemic. Sampling was carried out by the Gomez Palacio citizens. The total number of urban dust samples was 330, 50% indoor samples and 50% outdoor sample. The elements studied were Ca, Cu, Fe, K, Mn, Ni, Pb, Rb, Sr, Ti, Y, Zn, and Zr. The heavy metals were measured through a portable XRF; the contamination factor and the load pollution index were used to assess the pollution level. The human health risk was evaluated with the USEPA methodology. Cu, Pb, and Zn presented higher concentrations indoors than outdoors, probably due to domestic factors, such as the age of the houses and the paint on the walls. Zn presented the highest pollution level among all the metals, outdoors and indoors; spatially, the sites sampled in the northwest, close to agricultural areas, presented the highest Zn pollution. Pb had a moderate pollution level in most of the samples (60%), but some samples showed a high Pb pollution. The health risk was considered within the acceptable levels for Cu, Fe, Ni, Pb, Zn. However, Mn deserves attention because the average of the samples slightly exceeded the USEPA safety limits for children. Children are at higher risk compared to adults. Indoor environments need to be better analyzed because they were shown to represent a higher risk to the population than outdoor ones due to heavy metal pollution by Zn, Cu, and Pb. The pandemic impacted land use intensity; this study reports an apparent effect of the pandemic on the amount and type of heavy metals indoors and outdoors.

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