Judith Sierra-ÂRivera âs âGoce Emocionalâ An Aesthetics Proposal Circumventing the Space of Catastrophe of Mexican Nationalism Toward the outskirts of Mexico City, a kind of monolith, serving as a memorial to âs muralist art, replicates what were once the artistâs âLeyendas mexicanasâ (1950â52; Mexican Legends): a series of plastic architectural plates designed for the social interest housing complex called the Unidad Habitacional Benito JuÃ¡rez. With a magnitude of 8.1, the 1985 Mexico City earthquake destroyed the murals in the Benito JuÃ¡rez complexâand thus, too, the very last of MÃ©ridaâs public art in Mexico, which had already suffered for decades from governmental negligence and indifference. The monolithâs square shape and its location at Fuentes Brotantes, a remote housing complex in the city, evokes the Mexican stateâs continued misunderstanding of MÃ©ridaâs aesthetics and vision, which was based on the integration of different arts and traditions and on collaboration with other artists. Even though one of MÃ©ridaâs own students, Alfonso Soto Soria, designed it, the monolith has nothing to do with his vision of art as an agent of âgoce emocionalâ [emotional pleasure]. MÃ©rida identified this concept as the aesthetic core of pre-Â Hispanic Mayan architecture, and I propose that it
The Comparatist – University of North Carolina Press
Published: Nov 1, 2017
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