History and Memory of art: Remembrance of the artwork by Spencer Tunick in the Zocalo of Mexico City

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.