Christopher Michael Fraga, “Todos somos narcos: Mexican Necropolitics at the 53rd Venice Biennale” (paper presented at the International Congress of the Latin American Studies Association, San Francisco, California, May 23-26, 2012).
In “Todos Somos Narcos,” author Christopher Michael Fraga addresses the topic of a collective “unmasking” of the increased violence as a result of President Felipe Calderon's federal initiative against “organized crime” more specifically: Mexican cartels. Despite Calderon ambitious declaration of war against the cartels, it fueled more violence resulting in an increase in civilian homicides. Like any politician, Calderon called for people to spread the “truth”about Mexico. The “truth” being that the narco situation was under control and that the media was distorting reality. Perhaps this little story helped Mexico's reputation in the international media but the Mexican people who are witness to the horrendous crimes on a daily basis know exactly what's happening. Cuauhtemec Medina, curator and art historian was not pleased by the presidents attempt to sweep mexico's problems under the rug. At the this time Medina was working alongside performance artist Teresa Margolles to develop a project that discussed these very issues of violence at the 53rd Venice Biennale but they were concerned that there project would not gain approval due to the nature of the exhibition. It’s amazing to me that even within the creative process, the artist and curator are intercepted by the concerns with political cleanliness. Medina and Margolles did not concern themselves with Calderons wishes to showcase the “beauty of art” and “the other side of Mexico.” They utilized Venice Biennale as a platform to unmask the brutal crimes and Calderon political policies. Margolles literally introduces the blood of Mexican victims to an international public forcing the viewer to accept this as reality. The author references the “line of flight” theory: “Such flights never consist in running away from the world but rather in causing runoffs, as when you drill a hole in a pipe[...]. It is on lines of flight that new weapons are invented, to be turned against the heavy arms of State.” (Fraga, 3). The quote suggest that the artist use of physical evidence in a new environment can create a dialogue, or a sort of think tank to develop solutions or awareness to the issues that plague Mexican society. The performance acts a call for political action, the unmasking of the hidden truth.
This article was interesting because the title called Todos somos narcos: Mexico necropolitics at the 53rd Venice Biennale says it all. It first starts off with Mexican President-elect Felipe Calderon who prophesied about his proposed large-scaled federal initiative against organized crime: "I want to be absolutely clear and honest with you, because it won't be easy, because it won't be quick, because it won't be simple. Confronting crime will mean time, money, and it's also going to mean a loss of human life." His targets were the narcos or drug traffickers. What's more is that they (the U.S. and Mexico's officials) successfully captured 22 of the 37 capos or drug cartels it had targeted but had not lowered any levels of violence in the country of Mexico at all. Therefore, at the 53rd Biennale, a collective unmasking: todos somos narcos or "we are all drug traffickers" was stated to show that the ludicrousness of a military strategy of 'decapitation' by Calderon's war on crime becomes undeniable. Overall, I agree with the artists who proved that something can be done to solve the crime escalations in Mexico and to make a political statement that is directly mentioned to President-elect Felipe Calderon to reduce crime in his country.
It is true that getting the bosses hasn't seemed to work, especially when prison guards can be bought off with a few thousand dollars. It's difficult to know what the solution might be Do yo have any ideas?
The article "Todos somos narcos: Mexico necropolics at the 53rd Biennale" is a commentary piece in which the author Christopher Michael Fraga writes about the drug war of Presidente Calderon and the resulting rise in violence across many levels and the intentional hush hush policy the president has placed on his administration. Necro performer Margolles and colleague Medina use the public opinion platform that is the Biennale to create a very vivid and decayed awareness of the violence, violation of human rights, and overall deadly weather over current Mexico. Presidente Calderon's war on the cartels is presumed to be a positive action in the latin american nation but quickly the initial cost promised by Calderon is quadrupled at least. Now the country has the undertone of death and violence yet for the nations outside of Mexico they have only a taste of what is really going on in the country. This new awareness of the current state of Mexico attacks the senses and minds of the Biennale Visitors in Margolles smuggled piece. In signature fashion Margolles brings the news of Mexico to the public through the language of death. Literally.
Let's talk more about the public who gets to see this performance? Who has access? Is it a problem that this was shown on an international stage to the art-going audience? Bring this up tomorrow in class.
In the article, Todos somos narcos: Mexican necropolitics at the 53th Venice Biennale by Christopher M. Fraga, Mexican president Calderon proposed that he has the solution to the nation's crime problem. He was assertive, seemingly strategic, and honest. Two years later, his effort was not proved to be effective, and the numbers continues to increase. Is it because the criminals are so devious and clever? Or the government are just not making enough effort into stopping the crimes? Homicides, drug trafficking, human trafficking, violence, blood, and death bodies; no wonder it was hard for artist Teresa Margolles to change another subject to talk about, other than addressing the violence in Mexico. I can understand the government of Mexico's frustration and was surprised that her project was still chosen to be represented at the Biennale knowing what her art work has been about. Who doesn't want to be represented as a tourism haven to the world, as oppose to bloody violent country. But sometimes the truth hurts. With Teresa Margolles' fame in international sphere, many people must anticipate her performance. Maybe that's one of the reason why the Mexican government approved her project? Avoid international embarrassment and attempt to cover up own country's dirty crimes?
"...but also that we have a rich culture. Throughout the beauty of art, we can help to show the other face of Mexico," said by Alberto Fierro, the head of the SRE's Office of Cultural Matters, shows the frustration from the Mexican government official. The article continued with the example of the rise of H1N1 epidemic in Mexico and the transportation of Margolles' Venice Biennale project of blood transportation. The project was to "unmask...Calderon's war on crime" in an international festival, showing the world the country's incapability of policy change. As we join in celebration of art at the Venice Biennale, and we witness such performance at the pavilion from Margolles, how does this change our reality? And what are we doing about it after the performance is over?
We are all Narcos. I sat and contemplated the meaning behind Christopher Michael Fraga’s article “Todos Somos Narcos: Mexican Necropolitics at the 53rd Venice Biennal.” Before I read the actual article, the fact that this man stated that we are all drug dealers struck me, and made me ask the question “what?” I am not a drug dealer. Then I read the other readings, and realized just like president Bush declared a general “War on Terror” President-elect Felipe Calderon declared a war on “organized crime.” The drug cartels in particular. So, I continued reading, and the two wars, by two different presidents, in two different countries created a cohesive bandage of censorship, that plagues both societies.
There are obvious differences between these two wars, however a juxtaposition can be made to better understand the censorship that may be instilled by these governments. The face of Terrorism in America was the face of a practicing Muslim man, bearded, wearing traditional clothing, and dark. No where in the media was a domestic terrorist, white, male, Catholic depicted anywhere (even though there were plenty of cases of Americans holding other American’s hostage). Then, across the border we have this war on drugs. Seemingly, the country created a facade of victory and action, especially with the “decapitation” strategy. However, within two years, this facade was broken. The people of Mexico witnessed the on-going homicides and violence of the drug cartels. The violence was heavily visible before the two years that proved to be “less effective.”
Just like here, bomb threats, evacuations, TSA groping. All increasing, and clearly visible that the threat may not be contained. This tactic of instilling fear is something governments everywhere have come to know and love. It’s visible amongst the artists, that feared their work would go unseen because of the government. However, the fact that the exhibition went on created a sense that we can rise above the fear. In fact, so many countries followed and created pavilions, which was the true victory. “Spreading artistic tradition,” continued without allowing anyone to place limits on their art. I think the art of seeking, and telling the truth is the most powerful art, which is why curator Cuahtemoc Medina, and Teresa Margolles created something beyond being submissive to the government and it’s censorship, like some that are doing the same thing here in the U.S.
In “Todos Somos Narcos,” author Christopher Michael Fraga addresses the topic of a collective “unmasking” of the increased violence as a result of President Felipe Calderon's federal initiative against “organized crime” more specifically: Mexican cartels. Despite Calderon ambitious declaration of war against the cartels, it fueled more violence resulting in an increase in civilian homicides. Like any politician, Calderon called for people to spread the “truth”about Mexico. The “truth” being that the narco situation was under control and that the media was distorting reality. Perhaps this little story helped Mexico's reputation in the international media but the Mexican people who are witness to the horrendous crimes on a daily basis know exactly what's happening. Cuauhtemec Medina, curator and art historian was not pleased by the presidents attempt to sweep mexico's problems under the rug. At the this time Medina was working alongside performance artist Teresa Margolles to develop a project that discussed these very issues of violence at the 53rd Venice Biennale but they were concerned that there project would not gain approval due to the nature of the exhibition. It’s amazing to me that even within the creative process, the artist and curator are intercepted by the concerns with political cleanliness. Medina and Margolles did not concern themselves with Calderons wishes to showcase the “beauty of art” and “the other side of Mexico.” They utilized Venice Biennale as a platform to unmask the brutal crimes and Calderon political policies. Margolles literally introduces the blood of Mexican victims to an international public forcing the viewer to accept this as reality. The author references the “line of flight” theory: “Such flights never consist in running away from the world but rather in causing runoffs, as when you drill a hole in a pipe[...]. It is on lines of flight that new weapons are invented, to be turned against the heavy arms of State.” (Fraga, 3). The quote suggest that the artist use of physical evidence in a new environment can create a dialogue, or a sort of think tank to develop solutions or awareness to the issues that plague Mexican society. The performance acts a call for political action, the unmasking of the hidden truth.
ReplyDeleteLet's talk more about evasive politics tomorrow. What are other instances of this happening
Deletethat you can think of?
This article was interesting because the title called Todos somos narcos: Mexico necropolitics at the 53rd Venice Biennale says it all. It first starts off with Mexican President-elect Felipe Calderon who prophesied about his proposed large-scaled federal initiative against organized crime: "I want to be absolutely clear and honest with you, because it won't be easy, because it won't be quick, because it won't be simple. Confronting crime will mean time, money, and it's also going to mean a loss of human life." His targets were the narcos or drug traffickers. What's more is that they (the U.S. and Mexico's officials) successfully captured 22 of the 37 capos or drug cartels it had targeted but had not lowered any levels of violence in the country of Mexico at all. Therefore, at the 53rd Biennale, a collective unmasking: todos somos narcos or "we are all drug traffickers" was stated to show that the ludicrousness of a military strategy of 'decapitation' by Calderon's war on crime becomes undeniable. Overall, I agree with the artists who proved that something can be done to solve the crime escalations in Mexico and to make a political statement that is directly mentioned to President-elect Felipe Calderon to reduce crime in his country.
ReplyDeleteIt is true that getting the bosses hasn't seemed to work, especially when prison guards can be bought off with a few thousand dollars. It's difficult to know what the solution might be Do yo have any ideas?
DeleteThe article "Todos somos narcos: Mexico necropolics at the 53rd Biennale" is a commentary piece in which the author Christopher Michael Fraga writes about the drug war of Presidente Calderon and the resulting rise in violence across many levels and the intentional hush hush policy the president has placed on his administration. Necro performer Margolles and colleague Medina use the public opinion platform that is the Biennale to create a very vivid and decayed awareness of the violence, violation of human rights, and overall deadly weather over current Mexico. Presidente Calderon's war on the cartels is presumed to be a positive action in the latin american nation but quickly the initial cost promised by Calderon is quadrupled at least. Now the country has the undertone of death and violence yet for the nations outside of Mexico they have only a taste of what is really going on in the country. This new awareness of the current state of Mexico attacks the senses and minds of the Biennale Visitors in Margolles smuggled piece. In signature fashion Margolles brings the news of Mexico to the public through the language of death. Literally.
ReplyDeleteLet's talk more about the public who gets to see this performance? Who has access? Is it a problem that this was shown on an international stage to the art-going audience? Bring this up tomorrow in class.
DeleteIn the article, Todos somos narcos: Mexican necropolitics at the 53th Venice Biennale by Christopher M. Fraga, Mexican president Calderon proposed that he has the solution to the nation's crime problem. He was assertive, seemingly strategic, and honest. Two years later, his effort was not proved to be effective, and the numbers continues to increase. Is it because the criminals are so devious and clever? Or the government are just not making enough effort into stopping the crimes? Homicides, drug trafficking, human trafficking, violence, blood, and death bodies; no wonder it was hard for artist Teresa Margolles to change another subject to talk about, other than addressing the violence in Mexico. I can understand the government of Mexico's frustration and was surprised that her project was still chosen to be represented at the Biennale knowing what her art work has been about. Who doesn't want to be represented as a tourism haven to the world, as oppose to bloody violent country. But sometimes the truth hurts. With Teresa Margolles' fame in international sphere, many people must anticipate her performance. Maybe that's one of the reason why the Mexican government approved her project? Avoid international embarrassment and attempt to cover up own country's dirty crimes?
ReplyDelete"...but also that we have a rich culture. Throughout the beauty of art, we can help to show the other face of Mexico," said by Alberto Fierro, the head of the SRE's Office of Cultural Matters, shows the frustration from the Mexican government official. The article continued with the example of the rise of H1N1 epidemic in Mexico and the transportation of Margolles' Venice Biennale project of blood transportation. The project was to "unmask...Calderon's war on crime" in an international festival, showing the world the country's incapability of policy change. As we join in celebration of art at the Venice Biennale, and we witness such performance at the pavilion from Margolles, how does this change our reality? And what are we doing about it after the performance is over?
What do you think the impact of this work was on the viewers attending the biennial?
DeleteWe are all Narcos. I sat and contemplated the meaning behind Christopher Michael Fraga’s article “Todos Somos Narcos: Mexican Necropolitics at the 53rd Venice Biennal.” Before I read the actual article, the fact that this man stated that we are all drug dealers struck me, and made me ask the question “what?” I am not a drug dealer. Then I read the other readings, and realized just like president Bush declared a general “War on Terror” President-elect Felipe Calderon declared a war on “organized crime.” The drug cartels in particular. So, I continued reading, and the two wars, by two different presidents, in two different countries created a cohesive bandage of censorship, that plagues both societies.
ReplyDeleteThere are obvious differences between these two wars, however a juxtaposition can be made to better understand the censorship that may be instilled by these governments. The face of Terrorism in America was the face of a practicing Muslim man, bearded, wearing traditional clothing, and dark. No where in the media was a domestic terrorist, white, male, Catholic depicted anywhere (even though there were plenty of cases of Americans holding other American’s hostage). Then, across the border we have this war on drugs. Seemingly, the country created a facade of victory and action, especially with the “decapitation” strategy. However, within two years, this facade was broken. The people of Mexico witnessed the on-going homicides and violence of the drug cartels. The violence was heavily visible before the two years that proved to be “less effective.”
Just like here, bomb threats, evacuations, TSA groping. All increasing, and clearly visible that the threat may not be contained. This tactic of instilling fear is something governments everywhere have come to know and love. It’s visible amongst the artists, that feared their work would go unseen because of the government. However, the fact that the exhibition went on created a sense that we can rise above the fear. In fact, so many countries followed and created pavilions, which was the true victory. “Spreading artistic tradition,” continued without allowing anyone to place limits on their art. I think the art of seeking, and telling the truth is the most powerful art, which is why curator Cuahtemoc Medina, and Teresa Margolles created something beyond being submissive to the government and it’s censorship, like some that are doing the same thing here in the U.S.
Let's talk more about the simulation of fear. Do you think the violence in Mexico is exaggerated?
ReplyDelete