The Mexican-American exchange is often painted as one-sided–by overly simplistic explanations in North American media; by tone-deaf representations in our music, literature, and film; and by asinine comments and tweets from our current president and his administration. Sin Titulo seeks to change this narrative. The exhibition is curated by Dan Cameron (Prospect New Orleans) in collaboration with the Consulate of Mexico in New Orleans.
“[T]he works on view here were created by artists who see themselves as taking part in an international cross-current of contemporary ideas that flows from Berlin to Beijing, and from Dubai to Sao Paolo, as opposed to participating in a cross-border ‘exchange,’” Cameron writes. “The Mexican art scene has a great deal to offer other countries–including the U.S.” The Latinx contingent in New Orleans is often undersold in our city’s cultural conversation, but there have been large, vibrant Mexican, Cuban, Puerto Rican and Central American populations here for decades, and these communities have been growing exponentially since Katrina.
“[T]he fact that significant attention has been given to the impact of Hispanic culture through Mexico/U.S. border states like Texas, Arizona and California makes it even stranger that until now, equivalent local attention has not been paid to Mexico,” Cameron writes. “I don’t think it’s an exaggeration to say that Mexicans were instrumental in digging New Orleans out of the mud after Katrina. They came in impressive numbers and worked as day laborers, and some of them eventually putting down their roots in New Orleans,” he tells OffBeat before adding “Trade routes between New Orleans and Mexican ports like Tampico, Campeche and Merida have flourished since the 18th century, and coastal Louisiana has long had strong ties with the Mexican states of Tabasco and Veracruz, which are directly across the Gulf of Mexico from New Orleans. When Louisiana was under Spanish rule, those ties became even stronger. I think the cultural back-and-forth between Mexico and New Orleans has also been significant, but I’m not sure I can point to many recent examples of that phenomenon, aside from a general uptick in Mexican food and music. But the fact that significant attention has been given to the impact of Hispanic culture through Mexico/U.S. border states like Texas, Arizona and California makes it even stranger that until now, equivalent local attention has not been paid to Mexico.”
A similar readiness to respond quickly and willingness to work together effectively came in handy when earthquakes devastated Mexico City last month. The capital is still recovering, but Mexico has a rich history of resilience. Mexican Art has often reflected this triumph in the face of adversity, but as Cameron points out, the nation’s artistic tradition is far too varied in style and epic in proportion to be pigeonholed as political.
“One of the more striking features that tends to emerge in any extended conversation about Mexican contemporary art is that it enjoys the benefits of a coherent visual culture that has flourished for thousands of years,” he writes. “[A]n unbroken line of artistic development that connects archaeology with contemporary art in a continuous, if not always consistent, trajectory of techniques, forms and meanings.”
Sin Título features seven artists who work in various media, including painting, sculpture, mural, mosaic, performance and video. They come from different parts of Mexico, and are all internationally recognized for their work.
Cameron will hold a free panel discussion at the on Thursday, Nov. 2 from 6-8 p.m. at the Contemporary Arts Center (900 Camp St.), along with two of the featured artists, Hugo Crosthwaite (Tijuana) and Pablo Rasgado (Mexico City).
The exhibition will kick off with a free opening on Saturday, Nov. 4, from 6-9 p.m. at the Jonathan Ferrara Arts Gallery (400 Julia St.). It will remain on display there until Dec. 30.
