Navigation
Suscribe
Menu Search Facebook Twitter
Search Close
Menu ALL SECTIONS
  • Capital Coahuila
  • Capital Hidalgo
  • Capital Jalisco
  • Capital Morelos
  • Capital Oaxaca
  • Capital Puebla
  • Capital Quintana Roo
  • Capital Querétaro
  • Capital Veracruz
  • Capital México
  • Capital Michoacán
  • Capital Mujer
  • Reporte Índigo
  • Estadio Deportes
  • The News
  • Efekto
  • Diario DF
  • Capital Edo. de Méx.
  • Green TV
  • Revista Cambio
Radio Capital
Pirata FM
Capital Máxima
Capital FM
Digital
Prensa
Radio
TV
X
Newsletter
Facebook Twitter
X Welcome! Subscribe to our newsletter and receive news, data, statistical and exclusive promotions for subscribers
Living

Images to See-Yourself: The History of Racism in Mexico

The provocative exhibition asks questions about the role of racism in Mexico today

The final room of the exhibit, photo: The News/Peter Appleby
By The News Whatsapp Twitter Facebook Share
1 year ago

Judging by the queue to enter the Museo de la Ciudad de Mexico’s current exhibition, “Imágenes para ver-te: Una exhibición de racismo en México” (Images to See-Youself: The History of Racism in Mexico), the consequences of colonialism and its enduring history is still a topic of considerable interest in the capital city. But this very self-reflexive exhibit doesn’t only focus on the far-off past.

Ex Voto, Juan Carols "El Crayolas" Perez, 2005. Photo: Peter Appleby

Ex Voto, Juan Carols “El Crayolas” Pérez, 2005. Photo: The News/Peter Appleby

An introductory text, to be read while waiting to enter the first room, is clear in its message. Listing words frequently heard in Mexico like “naco” and “chaca,” we are reminded of their roots, highlighting the fact that racially-driven discriminations are not consigned to history but are still very much alive in Mexico today.

Objects, paintings, documents and photographs are shown in a loosely chronological order, split between rooms that mirror the topic, such as “The Body”, “The Skin”, and “The Face.” On show in the early rooms are drawings of various implements used in the control of slaves, vices to ratchet open the mouth for forced feeding and shackles that bound feet together in the bottom of ships. Older items are punctuated by more modern examples, like the signs stating “whites only” that guide the viewer around the exhibition, or a sepia-toned photograph of a girl, looking straight into the camera, a tape measure around her head. While at first glance the photo appears to be an example of the eugenics practiced during colonialism, it is actually the work of Guatemalan photographer, Luis González Palma, and dates from 1998.

The exhibition features a variety of historical artificats, including examples from early anthropology and eugenics. Photo: Peter Appleby

The exhibition features a variety of historical artifacts, including examples from early anthropology and eugenics. Photo: The News/Peter Appleby

César Carrillo Trueba, the curator and an anthropology lecturer at Sciences Sociales in Paris, explained the purpose of his exhibit in a conversation with Aristegui Noticias; “This is to show how racist imagery was formed, the actions that led up to their formation, and its persistence over time to the point that it is integrated into the national culture, like the films of the Golden Age.”

Frederick Starr’s “Bustes de Mexicanos-1900,” a selection of head busts of indigenous Mexican men, who Starr considered to be “ignorant, timid, and suspicious” is juxtaposed against Andrés Carratero’s “Rubios” (2011), a photographic series of Mexican women with heavy make-up and dyed blonde hair — the idealised image of “güera” beauty. Similarly, a photograph of a Black Lives Matter protest is placed next to a photo of the Memphis Sanitation strike of 1968, where men help signs barring the words “I Am A Man.” How much, we are asked, has really changed?

The last room of the exhibition focuses on the struggles of indigenous people in Mexico today and features a powerful artwork on the 43 students from the Ayotzinapa Rural Teachers College from Oaxacan artist, Francisco Toledo. Toledo, an open critic of the current government, has frequently used his art to call for further investigations into Ayotzinapa, and justice for the missing students. In the piece, the artist is shown running while 43 kites, all of which have the face of one a missing student printed upon it, soar into the sky behind him.

The exhibition runs until Sept. 25 and is well worth a visit.

Museo de la Ciudad de México is a short walk from both Metro Zócalo and Metro Pino Suárez. The address is: José María Pino Suárez 30, Centro, 06060 Ciudad de México, D.F.

 


Comments Whatsapp Twitter Facebook Share
More From The News
Latest News

Democrat Jones wins stunning red-state A ...

4 days ago
Business

Asian stocks mixed ahead of Fed rate ann ...

4 days ago
Entertainment

NFL Network suspends analysts over sexua ...

4 days ago
Business

Minnesota announces restrictions on usin ...

4 days ago
Most Popular

Patricia Espinosa Opens Mexico Conferenc ...

By The Associated Press
Business

French PM says Disputed Labour Bill Open ...

By The Associated Press
Business

White House Steps Up Aid for Financially ...

By The Associated Press
Business

Inflation-hit Venezuela to Print Bigger ...

By The Associated Press
Business

Skype Co-founder Launches Ultra-Private ...

By Reuters
Business