En defensa de La Revolución de Fabián Cháirez
This article addresses the work La Revolución by the Mexican painter Fabián Cháirez and the public reception of the painting, considering the events that marked his exhibition at the Museum of the Palacio de Bellas Artes in Mexico City, in early 2020. The analysis focuses on the attacks and defenses...
| Autor: | |
|---|---|
| Tipo de documento: | artigo |
| Estado: | Versão publicada |
| Data de publicação: | 2024 |
| País: | México |
| Recursos: | UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO |
| Repositório: | Anales del Instituto de Investigaciones Estéticas |
| Idioma: | espanhol |
| OAI Identifier: | oai:ojs.atenea.esteticas.unam.mx:article/2855 |
| Acesso em linha: | https://www.analesiie.unam.mx/index.php/analesiie/article/view/2855 |
| Access Level: | Acceso aberto |
| Palavra-chave: | Contemporary art Latin-American art Mexican art painting Emiliano Zapata Arte contemporáneo arte latinoamericano arte mexicano pintura |
| Resumo: | This article addresses the work La Revolución by the Mexican painter Fabián Cháirez and the public reception of the painting, considering the events that marked his exhibition at the Museum of the Palacio de Bellas Artes in Mexico City, in early 2020. The analysis focuses on the attacks and defenses that were put forward on the work and the artist himself, taking as a point of reference the three defenses of contemporary art proposed by Anthony Julius: the canonical defense, the formalist defense, and the distancing defense. It concludes that the transgression offered by the artist facilitates a renewal of the figure of Emiliano Zapata, since, by questioning the imaginaries of hegemonic masculinity, the painting serves as a queer piece of resistance. The work in question implies a reappropriation, resignification and a theatricalization of the figure of the “Caudillo del Sur”. |
|---|