![]() ![]() ![]() Palabras clave: Escuela Mexicana, Taller de Gráfica Popular, Frente Nacional de Artes Plásticas, guerra cultural, Guerra Fría, Bienales de São Paulo, Bienales Hispanoamericanas, Unión Panamericana, José Gómez Sicre, Jack Levine, Mauricio Lasansky.Įn 1957 el gobierno mexicano decidió dedicar dinero y recursos a la organización de Bienales Interamericanas. In an effort to challenge US economic and cultural hegemony in the continent, the Interamerican Biennials became one of the last battlefields for Mexico's famed revolutionary artists, and ultimately an important, if largely neglected, chapter in the history of Latin America's Cold War. By situating these exhibitions, together with the Sao Paulo Biennials and the Bienales Hispanoamericanas in the complex geopolitics created by the Iron Curtain, this essay analyses the role that Mexico's Biennials played in the hemisphere's Cultural Cold War. Although successful in convening a broad representation of countries in the continent, only two biennials successfully opened in 19. In 1957 the Mexican government decided to embark on the organization of high profile Interamerican biennials. ![]() It is an I+D project funded by the Spanish Ministry of Science (I+D HAR2017-82755-P). Art, politics and counterculture in the transatlantic axis during the Cold War. This study is part of an international research project titled Decentralized Modernities. Recibido del documento revisado: 12 Enero 2021ĭescripción del financiamiento: N.B. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |