The Murder in our Mist by Ernesto Prometeo Murillo proposes that due to the silence and causal acceptance of the murders of innocent women in Juarez, we are implicated as murderers, not just those that carried out the illicit deed. Murillo cites a myriad of documentaries, artists, actresses and activists that have attempted to shine a spotlight on the treacherous landscape of Juarez and how females of a certain lower income status are targeted by theorized “serial killers, organ traffickers” as well as kidnappers who use women for porn and other “snuff movies.” Murillo’s most important point comes at the end of the piece, that although documentaries and exposés that seek to promote the horrors of Juarez are award winning and frank in their representations, “the theme can be subject, however, to the opportunism often found in the artistic milieu.” Appropriation has been a concept utilized throughout art history and discussion surrounding its usage predictably remarks on its lethargic tendencies, artists like Sherrie Levine or Richard Prince come to mind. Murillo states that this “theme is highly vulnerable to the actions of ignorant pseudo-artists starving for attention.” What is interesting is Murillo’s straight forward interpretation of events throughout the article until these final sentences, where he slams the injustice of not only our own lethargy concerning mass murder but those of the artist’s that abuse it for personal gain.
What troubles me is that this article was written in 2004 and this is the first I’ve heard of these events.
Murderer in Our Midst is a fitting title for the silent sentencing of Juarez women. Ernesto Murillo paints a eerie picture and recorded the city’s acclaim. The reading categorized the state of affairs as “absolute chaos of impunity, femininity and influence peddling.” His prognosis being a contagious Mexican trait of ‘not minding anyone else’s business.’ According to Murillo, society at large has served as accomplice to the perpetrators, ‘Through our silence, we have all become murderers.’ Murillo credit’s the Avant-garde with the engagement of innovative compositions of critique the form of monologues, performances, happenings and installations. Mexican actresses are not exempt from the fray nor are film makers. Fortunately, the Mexican disease of neglect has failed to infect European trepidation and decoration of works of Juarez inspiration. For Murillo, the plastic and performing arts movements stylishly object to the ineffectiveness of Mexican authorities. The article takes inventory of the most evocative and influential including Margarita Garcia, Ofelia Medina, Lourdes Portillo and Alejandra Sanchez. Murillo concludes the reading with a warning of an additional threat. That the Juarez feminicide merits social commitment as much as it is susceptible to artisans with whom allegiance lies with themselves. I am astonished that Robert Ressler was not given the opportunity to establish the murderer’s profile and potentially end the terror. I don’t doubt that the La cruz de Juarez testimonials are a powerful piece and I hope it reaches a wide audience because silence on the subject has contaminated and facilitated the slaughter. The argument that efforts would be too extensive and costly. What is more expensive than loss of human time and life?! This is matter of taking back their community, order, sparing lives and granting security to future generations through justice. Cristina Michaus’s monologue is a brave compelling feature of her crusade as it speaks to the psychological assault of such an environment. Lorena Wolffer like Murillo, soaks societies hands. She offers her body up to the chopping block in reference to the butchered victims. Wolffer’s presentation recalls Regina Jose Galindo’s sharpie interaction with the Venezuelan plastic surgeon. Both call into question, culturally sanctioned violence against the female body and the psychosomatic component of life amongst the machismo.
In The Murderer in our Midst: Art, Denunciation, and Death in Ciudad Juarez, Ernesto Prometeo Murillo states the concerns of performing artists within the city in terms of the high rate of feminicide: “Behind the discovery of more than 260 dead bodies and the listing of more than 500 disappearances, beyond all the theories of serial killers, organ traffickers, kidnappings for the porn and snuff movie industry, or police fraternities organizing orgies, we know what is going on in Juarez: the murderer is not one, nor many; the murderer is in our midst. Through our silence, we have all become murderers”. As I read the horrifying news of the feminicide, I was especially disturbed to learn about how the people of Juarez know of these happenings yet continue to remain silent. It seemed that the only group of individuals willing to voice out these concerns and to take action are performance artists (Cristina Michaus, Claudia Bernal, etc.) who “offer a permanent protest against the incompetence of Mexican authorities in stopping the wave of killings in Ciudad Juarez”. Although some of the artists listed in the essay conducted their performances through the use of media, the message of the horrors towards women was strongly conveyed to those who watched; despite all the artists’ efforts, the government continued to ignore their loud cries.
In relation to the fact that the government of Ciudad Juarez does not focus nor look towards these concerns, Verónica Zebadúla-Yañez, author of Killing as Performance: Violence and the Shaping of Community, brings a possible theory that these acts of murder towards women is a political performance. I find this theory to be eye-opening; we would never consider these acts of violence as a mere “performance” but in another way it could be a possibility due to the point that the government may want to get across to its people (especially towards women) that they have control over their lives.
Question: What does Murillo mean when he writes, “But the theme is highly vulernable to the actions of ignorant pseudo-artists starving for attention; murderers who hypocritically, mutilate and ruin the public attention being paid to cultural spaces. This type of murderer is also in our midst”?
This article delineates the successful artists such as Margarita Garcia in which she mentions it would take 2 years to capture and profile a murderer of Juarez women but that the government rejected this notion on the grounds it would take too long and too expensive to catch them. In this,she mentions that this is the reason why nobody cares to find the murderers. I believe the situation is out of control and that something should be done about it or to capture the officials attention with some sort of strong evidence of this murderous situation. Those other ignorant and psuedo-artists who profits from unsuccessful attempts to denounce the killings of women of Juarez should also be reprimanded and also be prosecuted for outright wrongdoings. They are the murderers in the midst as mentioned in the article's title.
In the article “Murder in our Midst” Ernesto Prometeo Murillo introduced the city of Juarez as this sort of borderland community that has developed a passive attitude towards its citizens. The article stated that Juarez has adopted a “contagious” trait referred to as “ the art of not minding anyone else’s business.” This frame of mind is criminal, and is one of the reasons why the femicide in Ciudad Juarez has not stopped.” Through our silence, we have all become murders.” The community of Artist and Actors have used their craft to communicate the chaos to Mexican society and pointing the figure to Mexican authorities. The author makes mention of several of the contemporary artist you have denounced these mass murders through the use of performance art, video art and other mediums but he brings up one very valid concern in his conclusion. “...The feminicide serves as a powerful theme. Inexhaustible source inspiration for those wishing to inject social content into their artistic discourse, the theme can be subject, however, to the opportunism often found in the artistic milieu. Appropriating the protest while not actively participating in it can appear frivolous, if the artistic statement does not coincide with the attitude that the artist or communicator hold.” Murillo puts the artist on trial here, artist have the tools to create a discourse within communities to reframe the society but there are also “pseudo-artist” who work from themes that are popular just to gain popularity. Murillo makes a pretty harsh statement at the end of his article that sort of accuses these bandwagon artist as part of the problem “ a murderer in our midst.” This made me think of the Kony 2012 campaign, with its flashy Shepard Fairey designs. These trendy logos attracted everyone but it was short lived.
In the article "Murderer in our Midst" the author Ernesto Prometeo Murillo highlights concerns contemporary performing artists are communicating to Mexican society in regards to the femicide within the border city of Juarez. Murillo uses William Buroughs conceptual statement to give the outsider a sense of the general attitude of the populace of Juarez that being "the art of not minding anyone else's business". Murillo points out the fact that the people themselves in Juarez are just as responsible for the deaths of all these women because through their silence and their neglect they allow and even normalize these killings. passing them off as "just another missing dead girl" no big deal right? In other words through their silence the people themselves become the murderers. Murillo goes through a very extensive and varied list of actresses multimedia artists, and performing artists who publicly denounce these killings through their words and works. This is where Murillo turns his scope of critique towards these contemporary artists who "are starving for attention" and see the happenings in Juarez as an abundant source of fame grabbing inspiration for their works. Like a slap to the face Murillo turns it around on these artists in his critique of their apparent intentions in regards to Juarez "Contemporary art illuminates its times; and the Juarez feminicide is unquestionably an issue in need of all the social commitment that artists can muster. But the theme is highly vulnerable to the actions of ignorant pseudo-artists starving for attention; murderers who, hypocritically, mutilate and ruin the public attention being paid to cultural spaces". And for those artists who think that because they talk the talk and do not walk the walk "Appropriating the protest while not actively participating in it can appear disengaged, even frivolous, if the artistic statement does not coincide with the attitude that the artist or communicator actually holds." In a way I suppose any one of us have the potential to be "murderers" in different ways and in regards to different things. This idea of not acting, reacting, or using your abilities whatever they may be in a scenario where deep down inside you know better and know you could do more to change or help the situation at hand and not acting, well this gives you blood on your hands too. Even if no one else can see it.
In the article “Murderer in Our Midst,” Ernesto Prometeo Murillo discusses the an epidemic in the City of Juarez. He talks about the discovery of 260 dead and 500 missing, and he believes that by not saying anything “we have all become murderers.”
Murillo touches the subject of actresses being vocal about what is happening in Juarez; my initial reaction was negative. I saw a more Hollywood to approach to this. The actress getting more publicity appealing to her fans as caring and down to earth, but the more I read on, showed that these actresses took a more active and aggressive approach. They fought. They believed.
Murillo also cover the ineffectiveness of the Mexican authority, and why there is no organized “witch hunting” squads. With Juarez being a border city, it is mostly controlled by Mexican cartels who are in bed with local officials, and fear is a powerful tool. Survival is a natural instinct, and when people are to busy trying to survive, fighting becomes an after thought.
The article "The Murder in our Midst: Art, Denunciation and Death in Ciudad Juarez" by Ernesto Prometeo Murillo tells us about the ongoing femicide in the border town of Juarez and how certain artists have used their creative voices and expression to raise awareness of these atrocities. The Mexican government nor its authorities have done much to investigate or prevent the further mistreatments and deaths of the women of this city. Little has also been done by neighboring countries who have become aware of this issue. Artists in Mexico have taken matters into their own hands through "monologues, performances, happenings and installations", some receiving awards and recognition for their work (3). Still the article warns that these artists, if not careful, could "hypocritically, mutilate and ruin the public attention being paid to cultural spaces" (7). I agree that this subject needs to be more about the actual cause than an "opportunistic" bandwagon for attention. In order to prevent this, it is the artist's responsibility to do their research and make sure that the work that they are putting out there for the public to see is of quality and readable by the audience. I would have loved to read example of "pseudo-artists" that have "murdered" the theme and the name of art while attempting to take on this subject, in comparisson to those who have won awards for their works related to Juarez.
The Murder in our Mist by Ernesto Prometeo Murillo proposes that due to the silence and causal acceptance of the murders of innocent women in Juarez, we are implicated as murderers, not just those that carried out the illicit deed. Murillo cites a myriad of documentaries, artists, actresses and activists that have attempted to shine a spotlight on the treacherous landscape of Juarez and how females of a certain lower income status are targeted by theorized “serial killers, organ traffickers” as well as kidnappers who use women for porn and other “snuff movies.”
ReplyDeleteMurillo’s most important point comes at the end of the piece, that although documentaries and exposés that seek to promote the horrors of Juarez are award winning and frank in their representations, “the theme can be subject, however, to the opportunism often found in the artistic milieu.” Appropriation has been a concept utilized throughout art history and discussion surrounding its usage predictably remarks on its lethargic tendencies, artists like Sherrie Levine or Richard Prince come to mind. Murillo states that this “theme is highly vulnerable to the actions of ignorant pseudo-artists starving for attention.” What is interesting is Murillo’s straight forward interpretation of events throughout the article until these final sentences, where he slams the injustice of not only our own lethargy concerning mass murder but those of the artist’s that abuse it for personal gain.
What troubles me is that this article was written in 2004 and this is the first I’ve heard of these events.
Murderer in Our Midst is a fitting title for the silent sentencing of Juarez women. Ernesto Murillo paints a eerie picture and recorded the city’s acclaim. The reading categorized the state of affairs as “absolute chaos of impunity, femininity and influence peddling.” His prognosis being a contagious Mexican trait of ‘not minding anyone else’s business.’ According to Murillo, society at large has served as accomplice to the perpetrators, ‘Through our silence, we have all become murderers.’ Murillo credit’s the Avant-garde with the engagement of innovative compositions of critique the form of monologues, performances, happenings and installations. Mexican actresses are not exempt from the fray nor are film makers. Fortunately, the Mexican disease of neglect has failed to infect European trepidation and decoration of works of Juarez inspiration.
ReplyDeleteFor Murillo, the plastic and performing arts movements stylishly object to the ineffectiveness of Mexican authorities. The article takes inventory of the most evocative and influential including Margarita Garcia, Ofelia Medina, Lourdes Portillo and Alejandra Sanchez. Murillo concludes the reading with a warning of an additional threat. That the Juarez feminicide merits social commitment as much as it is susceptible to artisans with whom allegiance lies with themselves.
I am astonished that Robert Ressler was not given the opportunity to establish the murderer’s profile and potentially end the terror. I don’t doubt that the La cruz de Juarez testimonials are a powerful piece and I hope it reaches a wide audience because silence on the subject has contaminated and facilitated the slaughter. The argument that efforts would be too extensive and costly. What is more expensive than loss of human time and life?! This is matter of taking back their community, order, sparing lives and granting security to future generations through justice. Cristina Michaus’s monologue is a brave compelling feature of her crusade as it speaks to the psychological assault of such an environment. Lorena Wolffer like Murillo, soaks societies hands. She offers her body up to the chopping block in reference to the butchered victims. Wolffer’s presentation recalls Regina Jose Galindo’s sharpie interaction with the Venezuelan plastic surgeon. Both call into question, culturally sanctioned violence against the female body and the psychosomatic component of life amongst the machismo.
In The Murderer in our Midst: Art, Denunciation, and Death in Ciudad Juarez, Ernesto Prometeo Murillo states the concerns of performing artists within the city in terms of the high rate of feminicide: “Behind the discovery of more than 260 dead bodies and the listing of more than 500 disappearances, beyond all the theories of serial killers, organ traffickers, kidnappings for the porn and snuff movie industry, or police fraternities organizing orgies, we know what is going on in Juarez: the murderer is not one, nor many; the murderer is in our midst. Through our silence, we have all become murderers”. As I read the horrifying news of the feminicide, I was especially disturbed to learn about how the people of Juarez know of these happenings yet continue to remain silent. It seemed that the only group of individuals willing to voice out these concerns and to take action are performance artists (Cristina Michaus, Claudia Bernal, etc.) who “offer a permanent protest against the incompetence of Mexican authorities in stopping the wave of killings in Ciudad Juarez”. Although some of the artists listed in the essay conducted their performances through the use of media, the message of the horrors towards women was strongly conveyed to those who watched; despite all the artists’ efforts, the government continued to ignore their loud cries.
ReplyDeleteIn relation to the fact that the government of Ciudad Juarez does not focus nor look towards these concerns, Verónica Zebadúla-Yañez, author of Killing as Performance: Violence and the Shaping of Community, brings a possible theory that these acts of murder towards women is a political performance. I find this theory to be eye-opening; we would never consider these acts of violence as a mere “performance” but in another way it could be a possibility due to the point that the government may want to get across to its people (especially towards women) that they have control over their lives.
Question: What does Murillo mean when he writes, “But the theme is highly vulernable to the actions of ignorant pseudo-artists starving for attention; murderers who hypocritically, mutilate and ruin the public attention being paid to cultural spaces. This type of murderer is also in our midst”?
This article delineates the successful artists such as Margarita Garcia in which she mentions it would take 2 years to capture and profile a murderer of Juarez women but that the government rejected this notion on the grounds it would take too long and too expensive to catch them. In this,she mentions that this is the reason why nobody cares to find the murderers. I believe the situation is out of control and that something should be done about it or to capture the officials attention with some sort of strong evidence of this murderous situation. Those other ignorant and psuedo-artists who profits from unsuccessful attempts to denounce the killings of women of Juarez should also be reprimanded and also be prosecuted for outright wrongdoings. They are the murderers in the midst as mentioned in the article's title.
ReplyDeleteIn the article “Murder in our Midst” Ernesto Prometeo Murillo introduced the city of Juarez as this sort of borderland community that has developed a passive attitude towards its citizens. The article stated that Juarez has adopted a “contagious” trait referred to as “ the art of not minding anyone else’s business.” This frame of mind is criminal, and is one of the reasons why the femicide in Ciudad Juarez has not stopped.” Through our silence, we have all become murders.” The community of Artist and Actors have used their craft to communicate the chaos to Mexican society and pointing the figure to Mexican authorities. The author makes mention of several of the contemporary artist you have denounced these mass murders through the use of performance art, video art and other mediums but he brings up one very valid concern in his conclusion.
ReplyDelete“...The feminicide serves as a powerful theme. Inexhaustible source inspiration for those wishing to inject social content into their artistic discourse, the theme can be subject, however, to the opportunism often found in the artistic milieu. Appropriating the protest while not actively participating in it can appear frivolous, if the artistic statement does not coincide with the attitude that the artist or communicator hold.” Murillo puts the artist on trial here, artist have the tools to create a discourse within communities to reframe the society but there are also “pseudo-artist” who work from themes that are popular just to gain popularity. Murillo makes a pretty harsh statement at the end of his article that sort of accuses these bandwagon artist as part of the problem “ a murderer in our midst.” This made me think of the Kony 2012 campaign, with its flashy Shepard Fairey designs. These trendy logos attracted everyone but it was short lived.
In the article "Murderer in our Midst" the author Ernesto Prometeo Murillo highlights concerns contemporary performing artists are communicating to Mexican society in regards to the femicide within the border city of Juarez. Murillo uses William Buroughs conceptual statement to give the outsider a sense of the general attitude of the populace of Juarez that being "the art of not minding anyone else's business". Murillo points out the fact that the people themselves in Juarez are just as responsible for the deaths of all these women because through their silence and their neglect they allow and even normalize these killings. passing them off as "just another missing dead girl" no big deal right? In other words through their silence the people themselves become the murderers. Murillo goes through a very extensive and varied list of actresses multimedia artists, and performing artists who publicly denounce these killings through their words and works.
ReplyDeleteThis is where Murillo turns his scope of critique towards these contemporary artists who "are starving for attention" and see the happenings in Juarez as an abundant source of fame grabbing inspiration for their works. Like a slap to the face Murillo turns it around on these artists in his critique of their apparent intentions in regards to Juarez "Contemporary art illuminates its times; and the Juarez feminicide is unquestionably an issue in need of all the social commitment that artists can muster. But the theme is highly vulnerable to the actions of ignorant pseudo-artists starving for attention; murderers who, hypocritically, mutilate and ruin the public attention being paid to cultural spaces". And for those artists who think that because they talk the talk and do not walk the walk "Appropriating the protest while not actively participating in it can appear disengaged, even frivolous, if the artistic statement does not coincide with the attitude that the artist or communicator actually holds."
In a way I suppose any one of us have the potential to be "murderers" in different ways and in regards to different things. This idea of not acting, reacting, or using your abilities whatever they may be in a scenario where deep down inside you know better and know you could do more to change or help the situation at hand and not acting, well this gives you blood on your hands too. Even if no one else can see it.
In the article “Murderer in Our Midst,” Ernesto Prometeo Murillo discusses the an epidemic in the City of Juarez. He talks about the discovery of 260 dead and 500 missing, and he believes that by not saying anything “we have all become murderers.”
ReplyDeleteMurillo touches the subject of actresses being vocal about what is happening in Juarez; my initial reaction was negative. I saw a more Hollywood to approach to this. The actress getting more publicity appealing to her fans as caring and down to earth, but the more I read on, showed that these actresses took a more active and aggressive approach. They fought. They believed.
Murillo also cover the ineffectiveness of the Mexican authority, and why there is no organized “witch hunting” squads. With Juarez being a border city, it is mostly controlled by Mexican cartels who are in bed with local officials, and fear is a powerful tool. Survival is a natural instinct, and when people are to busy trying to survive, fighting becomes an after thought.
The article "The Murder in our Midst: Art, Denunciation and Death in Ciudad Juarez" by Ernesto Prometeo Murillo tells us about the ongoing femicide in the border town of Juarez and how certain artists have used their creative voices and expression to raise awareness of these atrocities. The Mexican government nor its authorities have done much to investigate or prevent the further mistreatments and deaths of the women of this city. Little has also been done by neighboring countries who have become aware of this issue. Artists in Mexico have taken matters into their own hands through "monologues, performances, happenings and installations", some receiving awards and recognition for their work (3). Still the article warns that these artists, if not careful, could "hypocritically, mutilate and ruin the public attention being paid to cultural spaces" (7). I agree that this subject needs to be more about the actual cause than an "opportunistic" bandwagon for attention. In order to prevent this, it is the artist's responsibility to do their research and make sure that the work that they are putting out there for the public to see is of quality and readable by the audience. I would have loved to read example of "pseudo-artists" that have "murdered" the theme and the name of art while attempting to take on this subject, in comparisson to those who have won awards for their works related to Juarez.
ReplyDelete