History and Memory of art:
Remembrance of the artwork by Spencer Tunick in the Zocalo of Mexico City
DOI:
https://doi.org/10.26807/cav.v10i18.598Keywords:
Memory, zocalo, nudes, photography, public space, Spencer Tunick, history of art, bodies, politics, relational art.Abstract
Performative artistic experiences are works that can be recorded by art history, through documentation, photographs and analysis, but they provoke an imprint on the collective memory that is much broader and more emotional than those documents. Memory can even perceive the art work in opposite directions of those in which it was created. This analysis reviews the possibilities of establishing a review of the intervention work that the artist Spencer Tunick carried out in the main square of Mexico City, where he invited more than twenty thousand people to undress in public space and produce a series of photographs. The resulting works, from our point of view, do not allow us to dimension the experience lived by the people who participate in this collective experience.
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References
Belausteguigoitia, Marisa (2007). México quiere ser libre. Spencer Tunick en el zócalo. Debate Feminista, no. 36 México. https://doi.org/https://doi.org/10.22201/cieg.2594066xe.2007.36.1463
Guasch, Ana María (2005). Los lugares de la memoria: el arte de archivar y recordar. Matèria Revista Internacional d´art no. 5, Barcelona.
Haraway, Donna (1991) Ciencia, cyborgs y mujeres. La reivención de la naturaleza. Cátedra, Madrid.
Nora, Pierre (2008). Pierre Nora en Les lieux de mémoire, Trilice, Montevideo.
Tunick, Spencer. SpencerTunick. www.spencertunick.com
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Copyright (c) 2024 Larisa Itzel Escobedo Contreras
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ÍNDEX, Journal of Contemporary Art, manages its content rights under the Creative Commons Attribution–NonCommercial 4.0 license. In this regard, submissions remain subject to the author’s decision.
