Grupo Mira. A Counter-History of the Seventies in Mexico
A Counter-History of the Seventies in Mexico tells the story of a group of artists who were active between 1965 and 1982. The main members were Arnulfo Aquino, Melecio Galv谩n, Eduardo Gardu帽o, Rebeca Hidalgo, Silvia Paz Paredes and Jorge P茅rez Vega.The exhibition aims to present the output and critical potential of the Mira Group and contribute to the history of the 1970s in Mexico.
The members of the Mira Group met at the National School of Visual Arts (ENAP). They worked together in the United States under the name of Group 65, and later founded the People鈥檚 School of Art in Puebla, active between 1972 and 1974. Finally, between 1977 and 1982, they formed the Mira Group. This project was concerned with refounding a political art far away from the stereotypes of committed art, in dialogue with the struggles and thought of its time.
The group produced an art directed both towards workers and more specialized audiences, using historical forms of public art such as muralism and political graphic art, and at the same time the neo-avant-garde, conceptualism and institutional criticism.
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A Counter-History of the Seventies in Mexico tells the story of a group of artists who were active between 1965 and 1982. The main members were Arnulfo Aquino, Melecio Galv谩n, Eduardo Gardu帽o, Rebeca Hidalgo, Silvia Paz Paredes and Jorge P茅rez Vega.The exhibition aims to present the output and critical potential of the Mira Group and contribute to the history of the 1970s in Mexico.
The members of the Mira Group met at the National School of Visual Arts (ENAP). They worked together in the United States under the name of Group 65, and later founded the People鈥檚 School of Art in Puebla, active between 1972 and 1974. Finally, between 1977 and 1982, they formed the Mira Group. This project was concerned with refounding a political art far away from the stereotypes of committed art, in dialogue with the struggles and thought of its time.
The group produced an art directed both towards workers and more specialized audiences, using historical forms of public art such as muralism and political graphic art, and at the same time the neo-avant-garde, conceptualism and institutional criticism.
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