Search

Copyright of Periférica Internacional. Revista para el Análisis de la Cultura y el Territorio is the property of Universidad de Cadiz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the context and content of 15 drawings created in the early 1990s by Guatemalan children who survived government-led systemic violence against their Maya Tz’utujil community. Titled Children in Crisis, all 15 drawings collected by Albert Hurwitz depict similar stories of loss and violence. Considering the relevance of producing research that recognizes stories of marginalized groups, this article engages in making visible the narratives of Maya Tz’utujil children; the events that triggered the stories of violence, loss, and resilience rendered in these drawings; and the functions these drawings served in the aftermath of systemic violence. Created as part of posttraumatic stress therapy, these drawings are, as a close examination suggests, a reaffirmation of Maya identity as an expression of collective resistance. [ABSTRACT FROM AUTHOR]

The article discusses the commitment of non-profit Fundación YAXS to explore and promote Guatemalan art through its performance archive. Topics discussed include the organization's initiative to create pieces of the traditional game yaxs from metal following the spread of plastic pieces, the renovation of a historic home in Guatemala City to launch Casa YAXS to house the organization's library and historical archives, and the commitment to preserve cultural memory.

Between 1919 and 1927 the Guatemalan artist Carlos Mérida and his writings and artworks moved between Mexico City, Paris, and New York. When Mérida moved to Mexico City in 1919 to establish himself as an artist and to make a living as an art critic, he encountered a milieu striving to craft nationalist art in the wake of the Mexican Revolution. Attending to the polemics he generated while trying to incorporate indigenous culture differently into modern art and to the transnational production, display, and reception of his work reveals how a responsive, oppositional modernism was generated by such mobility. [ABSTRACT FROM PUBLISHER]

As the context for the production and reception of Regina Jose Galindo's work has expanded internationally, her position within her practice has shifted from lone protagonist in the early performances produced in her native Guatemala, to orchestrator of the actions of others, to complete corporeal absence in the most recent sculptures, which paradoxically still invoke the human body. This article traces the ways in which the internet and related digital technologies that have been key to the production and dissemination of Galindo's work have affected its critical reception. In parallel the symbolic 'de-' and 're-' materialisation of the human body in Galindo's practice over the past decade are configured through the thinking of the Argentinian Oscar Masotta, with specific reference to his 1968 lecture 'Despues del Pop Nosotros Desmaterializamos/After Pop we Dematerialise'. The article draws on conversations between the author and Galindo during the development of the exhibition 'Regina Jose Galindo: The Body of Others' at Modern Art Oxford in 2009. [ABSTRACT FROM AUTHOR]

Front matter is presented, which offers information on the journal's editorial staff and a table of contents.