Andrea Sarahí Chávez Pérez, Isis Mariana Yépez Rodríguez

archiva_mutante: la borradura, la grieta y la ciudad

Introduction

Archiva_mutante: la borradura, la grieta y la ciudad. Analiza obras de Diana Cano y Julieta Gil sobre la 'Revolución de la Diamantina'. Explora el borrado del graffiti feminista, la memoria histórica y la violencia de género en México.

Abstract

Neste artigo, abordaremos as obras Borré las paredes de las pintas (2019) e Nuestra victoria (2019-2020) de Diana Cano e Julieta Gil, duas artistas mexicanas contemporâneas cujas perspectivas captam o mesmo evento: a “Revolución de la Diamantina” ou “Glitter Revolution”, uma série de protestos feministas que começaram em meados de agosto de 2019, em que o monumento ao Anjo da Independência foi pintado por graffiti de slogans de marcha feminista. Tomamos ambas as obras como se fossem dois ficheiros do arquivo da Cidade do México, deliberado e fidedignamente apagados pelas autoridades da capital: os graffitis de protestos feministas em muros e monumentos históricos que procuram denunciar a violência de gênero no país. Consideramos que as obras das artistas impulsionam o questionamento da memória histórica, ao mesmo tempo que tecem a subjetividade e a coletividade no espaço público.

Review

This paper, titled 'archiva_mutante: la borradura, la grieta y la ciudad,' presents a compelling analysis of contemporary Mexican art as a site of historical memory and social commentary. Focusing on the works *Borré las paredes de las pintas* (2019) by Diana Cano and *Nuestra victoria* (2019-2020) by Julieta Gil, the authors propose a fascinating intervention into the discourse surrounding the 'Revolución de la Diamantina' or 'Glitter Revolution' – a pivotal series of feminist protests in Mexico City. The core argument posits these artworks as a re-inscription of an 'erased archive' of feminist graffiti, deliberately removed by authorities, thereby challenging dominant narratives and asserting a counter-memory within the urban fabric. The abstract effectively outlines a highly relevant and timely contribution to the fields of art history, urban studies, and protest movements. By conceptualizing the artists' works as 'dois ficheiros do arquivo da Cidade do México, deliberado e fidedignamente apagados pelas autoridades,' the paper introduces a robust framework that promises to explore how art can function as a dynamic response to state-sanctioned erasure. This approach is particularly strong in its engagement with the socio-political context of gender violence in Mexico, demonstrating how artistic practices not only document but actively re-shape public understanding of historical events and collective memory. The focus on specific artists and their direct engagement with the 'Glitter Revolution' offers a concrete and impactful case study of art’s role in public discourse. While the abstract clearly articulates the paper's significant contribution, the evocative title 'archiva_mutante: la borradura, la grieta y la ciudad' suggests rich avenues for deeper theoretical exploration within the full manuscript. The paper would benefit from elaborating on the precise theoretical underpinnings of the 'mutant archive' concept – how it differs from or expands upon existing archival theories, and how 'borradura' (erasure) and 'grieta' (fissure/crack) operate as critical tools within this framework. Nevertheless, this submission promises to be a powerful and incisive examination of how contemporary art confronts state-sanctioned erasure, fostering a critical engagement with historical memory, subjectivity, and collective action in the public sphere. It is an important and timely study that will undoubtedly resonate with scholars interested in art, activism, and urban memory in Latin America and beyond.

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