View of #nomecansaré protests, Mexico.
The commemoration of 50 years since the events of 1968 is an opportunity to look back at the archive and also to question where we are now. Today, the social mobilizations and the visual grammars that accompany them are different.
#NoMeCansaré explores a number of practices that, between art and social mobilization, express and give shape to present-day demands in a country where violence overwhelms and surpasses the government, giving rise to a shapeless and hard-to-define machine of war.
In the mid-1990s, the Argentine historian Roberto Amigo used the notion of “aesthetic practices of political praxis” to name a series of actions carried out against the Argentine dictatorship, whose center was the action known as the “Siluetazo.” This description allows us to explore actions that go beyond what we normally understand as “art” because they are practices that are not the responsibility of an individual author but rather of lengthy collaborative work processes that are nevertheless part of our cultural horizon.
To think about the social processes that interrogate the complex realities of Mexico, it is essential to approach the vocabularies and forms that generate these ways of doing. These material approaches allow us to question how the visibility and communication of the intricate political process operates.
(Photo courtesy of MUAC.)