The Display of the ‘Indigenous’ – Collecting and Exhibiting ‘Indigenous’ Artifacts in Mexico, 1920-1940
The Indigenist discourse in post-revolutionary Mexico massively revaluated regional handicrafts as allegedly authentic relics and expressions of a ‘pure indigenous sense of art’. Both within and outside Mexico, artesanía became a highly demanded collectible. Exhibited in museums and fairs, it also b...
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| Publicat a: | URI:https://journals.openedition.org/artelogie, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | miria |
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Artelogie
2018
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | The Indigenist discourse in post-revolutionary Mexico massively revaluated regional handicrafts as allegedly authentic relics and expressions of a ‘pure indigenous sense of art’. Both within and outside Mexico, artesanía became a highly demanded collectible. Exhibited in museums and fairs, it also became a fashionable home accessory for the urban elites. Especially the modernist bohème in Mexico City used artesanía as an anachronistic source, allowing them to establish the collecting and semi-private exhibiting of handicrafts as an Indigenist art practice. From the 1930s onwards, mainly North-American tourists visited Mexico in great numbers, bought artesanía objects as touristic souvenirs and popularized them internationally. The paper seeks to problematize the relationship between the cultural reevaluation of the rural and indigenous with modernist art practices. The goal is to critically review the appropriation practices and authentication strategies of modernist artists involved in a nationalist discourse. |
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