ABSTRACT

The construction of popular arts in Mexico is a process that is generally attributed to the proposals of the plastic artists of the post-revolutionary period. Here, I explore some of these (Exposición Nacional de Artes Populares, 1921; y Museo de Artes Populares, 1930–1942), along with others not yet analyzed by historiography, mainly developed by anthropologists (at the Museo Nacional, 1920–1924; in the Misión Universitaria del Instituto de Investigaciones Estéticas de la Universidad Nacional, 1936–1937; and in the Departamento de Asuntos Indígenas, 1936–1946). The goal is to show their affinities (a purist and primitivist notion) but, above all, to highlight their differences regarding the aesthetic (art), cultural (folklore), and identity (Mexican, indigenous, national) valuation of the objects (industry/crafts), as well as the need for its conservation vs. transformation. I argue that, far from being a linear and homogeneous history derived exclusively from post-revolutionary plastic arts, it is a heterogeneous process that was not consolidated into a single centralized and institutionalized project until the middle of the century, within the framework of the modernization of the Mexican State and the inter-American indigenism.

摘要

墨西哥通俗艺术的构建过程通常归因于后革命时期造型艺术家的提议。在这里，我探讨了其中的一些（Exposición Nacional de Artes Populares，1921 年；y Museo de Artes Populares，1930-1942 年），以及其他尚未通过史学分析的，主要由人类学家开发的（在 Museo Nacional，1920-1924 年；在 Misión Universitaria del Instituto de Investigaciones Estéticas de la Universidad Nacional，1936–1937 年；以及在 Departamento de Asuntos Indígenas，1936–1946 年）。目标是展示他们的亲和力（纯粹主义者和原始主义者的概念），但最重要的是，强调他们在审美（艺术）、文化（民俗）和身份（墨西哥、土著、国家）对象（工业）估值方面的差异/工艺），以及其保护与改造的需要。我认为，它远非完全源自革命后造型艺术的线性和同质历史，而是一个异质过程，直到本世纪中叶，在现代化的框架内，它才被整合成一个单一的集中和制度化的项目墨西哥国家和美洲土著主义。