2/21/2023 0 Comments Manual del redactor![]() The transfer of the tools for artistic work into cooperative-based education functioned as a response to the artistic-political zeitgeist, and the goal of redistributing the materials associated with artists in working class neighborhoods and rural settings. While during the 1970s he had attempted to challenge the hierarchies within the limits of artistic education (in courses dedicated to producing publications using photocopiers, stamps and mimeographs in art schools in Xalapa, Veracruz and Mexico City), during the outpouring of the 1980s his aim was to breathe life into the notion of collective work among the students of rural teaching schools, 4 cultural workers and the curious. Nevertheless, Ehrenberg found in the editorial workshop a peculiar power that existed on the soft edges of the field. For example, Lucy Lippard warned of their imminent engulfment by the mercantile art system and the limited ability of such publications to circulate beyond a specialized audience, given their hermetic tendencies. According to different critical sources of the period, such publications did nothing to structurally modify the production-circulation relationship. Self-publishing offered the promise of autonomy and flexibility for a diverse group of artists linked to Conceptualism, Fluxus, and the –at the time- wide-reaching network of mail art and artists’ books, which emerged in the northwestern hemisphere and enjoyed particular popularity in Latin America and Eastern Europe.Īlthough it was cheap and easy to distribute, as a strategy to avoid concessions to the market the artist’s book proved insufficient, since it perpetuated the object-based character of artistic production. The courses placed particular emphasis on the stencil, with the aim of proposing reproduction as a basic principle and a means of potential liberation through the appropriation of the means of production, and also the materialization of a collective effort based on the minimal resources available and within the reach of students.ĭuring the 1960s, the work of publishing burst upon the arts as another promise of emancipation from the hegemonic regime composed of exhibition spaces, the art market, and critics. He promoted mimeographing as a method for use in workshops and seminars organized by both artists and non-artists, focusing on the organization of production in both rural and urban areas. In these institutions, manuals for experimental photography and printing techniques, mimeographing, mural painting and serigraphy were produced.Īfter returning from England in 1974, Ehrenberg shared a series of editorial tools with different contexts in Mexico. Pertinent examples include the School of Plastic Arts of the University of Veracruz in Xalapa, or the Monumental Graphics Workshop at the Metropolitan Autonomous University – Xochimilco, in Mexico City. These tools contributed to The Art of Living from Art, a course and repository that he gathered into a single volume in the first decade of the new millennium.ĭuring the 1970s and 1980s, in Mexico there was a marked proliferation of production, communication and management manuals developed by artists for use across a broad range of sectors. ![]() 2 In addition to this publication, during the 1980s he produced a number of manuals devoted to mural painting, cultural management, artistic administration, exhibition design and press distribution. ![]() The core concept he proposed was use of the stencil duplicator or mimeograph, the material result of which –dedicated to the editorial cooperative- would become popularly known as the Manual del editor con huaraches. 1 In the early 1980s, Ehrenberg dedicated himself to transmitting this critical function, through different editorial production workshops and among non-specialized circles in Mexico. ![]() Questioning, improving upon and going beyond the printed word are, according to Felipe Ehrenberg, the duties of the teacher.
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