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Carlos Mérida's "Goce Emocional": An Aesthetics Proposal Circumventing the Space of Catastrophe of Mexican Nationalism

Carlos Mérida's "Goce Emocional": An Aesthetics Proposal Circumventing the Space of Catastrophe... Judith Sierra-­Rivera ’s “Goce Emocional” An Aesthetics Proposal Circumventing the Space of Catastrophe of Mexican Nationalism Toward the outskirts of Mexico City, a kind of monolith, serving as a memorial to ’s muralist art, replicates what were once the artist’s “Leyendas mexicanas” (1950–52; Mexican Legends): a series of plastic architectural plates designed for the social interest housing complex called the Unidad Habitacional Benito Juárez. With a magnitude of 8.1, the 1985 Mexico City earthquake destroyed the murals in the Benito Juárez complex—and thus, too, the very last of Mérida’s public art in Mexico, which had already suffered for decades from governmental negligence and indifference. The monolith’s square shape and its location at Fuentes Brotantes, a remote housing complex in the city, evokes the Mexican state’s continued misunderstanding of Mérida’s aesthetics and vision, which was based on the integration of different arts and traditions and on collaboration with other artists. Even though one of Mérida’s own students, Alfonso Soto Soria, designed it, the monolith has nothing to do with his vision of art as an agent of “goce emocional” [emotional pleasure]. Mérida identified this concept as the aesthetic core of pre-­ Hispanic Mayan architecture, and I propose that it http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Carlos Mérida's "Goce Emocional": An Aesthetics Proposal Circumventing the Space of Catastrophe of Mexican Nationalism

Sierra-Rivera, Judith
The Comparatist , Volume 41 – Nov 1, 2017
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University of North Carolina Press
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Copyright © Southern Comparative Literature Association.
ISSN
1559-0887
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Abstract

Judith Sierra-­Rivera ’s “Goce Emocional” An Aesthetics Proposal Circumventing the Space of Catastrophe of Mexican Nationalism Toward the outskirts of Mexico City, a kind of monolith, serving as a memorial to ’s muralist art, replicates what were once the artist’s “Leyendas mexicanas” (1950–52; Mexican Legends): a series of plastic architectural plates designed for the social interest housing complex called the Unidad Habitacional Benito Juárez. With a magnitude of 8.1, the 1985 Mexico City earthquake destroyed the murals in the Benito Juárez complex—and thus, too, the very last of Mérida’s public art in Mexico, which had already suffered for decades from governmental negligence and indifference. The monolith’s square shape and its location at Fuentes Brotantes, a remote housing complex in the city, evokes the Mexican state’s continued misunderstanding of Mérida’s aesthetics and vision, which was based on the integration of different arts and traditions and on collaboration with other artists. Even though one of Mérida’s own students, Alfonso Soto Soria, designed it, the monolith has nothing to do with his vision of art as an agent of “goce emocional” [emotional pleasure]. Mérida identified this concept as the aesthetic core of pre-­ Hispanic Mayan architecture, and I propose that it

Journal

The Comparatist – University of North Carolina Press

Published: Nov 1, 2017

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