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Keynote Speaker 

Prof Julia Tuñón, National Institute of Anthropology and History, Mexico City

El dinosaurio sigue ahí…: El trauma de la pobreza en las artes visuales a lo largo de la historia mexicana

Parafraseando el minicuento de Tito Monterroso, “Cuando despertó, el dinosaurio todavía estaba allí”, observo que la pobreza en México se ha convertido en un trauma de larga duración, que gravita en nuestras conciencias a lo largo de la historia nacional y que ha sido representada por las artes visuales desde los tiempos más remotos, concretando en imágenes las ideas que en cada época existe sobre ella y sugiriendo consecuencias en todos los órdenes de la vida. Entender la pobreza es difícil porque el tema siempre atañe a la ética e increpa a la conciencia, aunque a lo largo del tiempo se la haya explicado de diversas maneras. El imaginario construido por las imágenes, surjan éstas del arte con altas pretensiones o de la cultura popular, expresa los conceptos de su época, pero también construye un marco de percepción, y nos obliga a atender sus manifestaciones.

Speakers in alphabetical order

Dr Julia Banwell, University of Sheffield

The display and performance of bodies and objects in the work of Teresa Margolles

The Mexican artist Teresa Margolles (b.1963) has devoted her career to exposing the effects of violence on the individual and the social body, examining the relationship between violence and absence and confronting the viewer with uncomfortable realities. Margolles’ display of real bodies, body parts and residues forms part of a tradition that extends back through hundreds of years of Mexican pre-Hispanic, colonial and post-colonial cultural, social and religious history, re-working them within the context of the late 20th and early 21st centuries, in the shadow of the North American Free Trade Agreement and the social problem of murders and violence associated with the trade in narcotics and the damage wrought by the War on Drugs.

Margolles’ work is founded on an interest in remains, the traces left behind. These fragments constitute material memories of past lives of bodies and objects, which persevere as legacies of trauma and engage spectators in active and reactive engagement with the artwork. The artist engages with traumas of the recent past and present, responding particularly in recent years to the cartels’ public display of bodies and violent death.

This paper will explore issues of fear, loss, memory, trauma violence and visibility in some examples of Margolles’ work, and reflect upon the ways in which performed objects aid in the formation of human connections and networks between places and spaces, the living and the dead. Attention will also be given to ethical problems around the performance of others’ bodies.

Prof Nuala Finnegan, University College Cork

Trauma and Renewal in two documentary narratives of the Ciudad Juárez femicides

This paper will analyse two documentary films about the Ciudad Juárez femicides, Señorita Extraviada (2001) by Lourdes Portillo and La carta (2010) by Rafael Bonilla. Portillo’s celebrated documentary presents a linear, totalizing narrative that isolates the twin problems of narcotráfico (alongside organized crime) and rampant globalization (emblematized by the maquilas) as lines of argument that explain the violence unleashed against the women of Juárez. According to this logic, the femicides constitute almost ‘accidental allegories’ (Carroll 2006). This narrative of exceptionality (in the Agambean sense) so frequently invoked when talking about the border region, is delivered in the documentary by a voice-over (Portillo herself) with its concomitant association with authority and impartiality. However this totalizing narrative is also undercut by the presence of other voices and discourses that include the mothers of the victims but also sequences of seemingly unrelated visual references interspersed between the voices of “experts” and activists. Through an analysis of these sequences and drawing on theoretical insights from Frederic Jameson and others, I suggest that the documentary contests the ‘time-worn script’ of exceptionality and instead presents moments of ambiguity but also restitution. A similar impulse of renewal can be detected in Bonilla’s La carta through its use of the device of letter-writing as a mechanism around which a moment of national solidarity and reconciliation may be forged. La carta focuses on one of the femicide victims’ mothers, Paula Flores, following her as she charts an uneasy path through (at best) indifferent officialdom to tell a tale about redemption and reconciliation between the centre (Mexico City) and its troubled periphery (Ciudad Juárez). Finally, I will argue that both these documentaries in different ways, enact distinct but pivotal moments in the narratives of violence in Mexico’s recent history.

Dr Miriam Haddu,Royal Holloway, University of London

The Skeleton at the Feast: Spectral Subjects and the Quest for Self-Representation in Alberto Cortés’ Corazon del tiempo

The mid 1990s, saw dramatic changes to the Mexican political landscape. The coming into effect of the North American Free Trade Agreement (NAFTA) on the 1st January 1994, alongside the implementation of neoliberal economic policies spearheaded by the often termed technocratic presidency of Carlos Salinas de Gortari, formed the catalyst for a declaration of war made by an insurgency located in the southern regions of the county. This predominantly indigenous rebellion, although geographically localized in its initial stages, went on to become an international phenomenon aligned with alter-globalization and anti-neoliberal movements across continents. The year 2014 therefore marks the 20th anniversary of the EZLN’s entrance into the public domain, and their positioning within the discourses of political and ideological resistance. During the early stages, and via the use of multi-media platforms, the EZLN called for a re-definition of indigenous autonomy and identity, highlighting the quest for a re-location of power from the hegemonic structures of the Mexican political system, to the subulternised spaces of the chiapaneco margins. Detailed photographic and written accounts of the movement’s progression and socio-political achievements in the region have been widely recorded for scrutiny. However, until Alberto Cortés’ film, Corazón del tiempo, the EZLN and its autonomous territories have been deprived of a cinematic voice beyond the realms of the documentary. This paper will thus explore how Corazón del tiempo fictionalizes a Zapatista reality pertinent to a dissident community living autonomously in the years following the cease fire. Framed as a love story, the film allows for an exploration of the Zapatista existence through the quotidian lens. Yet concealed within the seeming banality of the everyday, lies a staunch filmic critique of the continued threat of military aggression, imposed upon a cause and a way of life that remains characterized by its precarious condition.

Dr Chris Harris, University of Liverpool

Rius, Los agachados, and the Memorialisation of 1968

This paper forms part of a larger study concerned with the problems of analysing the memorialisation of 1968 in Mexico. The focus, as the 50th anniversary of Tlatelolco looms, is on a special edition of Los agachados: the ‘número especial de los cocolazos’. This weekly comic was created by Rius (Eduardo del Río). Although the back page carries the date 2nd November, the narrative stops at the 24th September. Questions of publication and circulation therefore immediately arise; yet it is not only the need for a meticulously detailed contextualisation that is being considered. The principal critical dilemma being addressed through the analysis of this comic concerns the idea of the text not simply as a ‘site of memory’ but rather as a ‘site of memorialisation’. In other words, this paper is far less about the interrogation of an artefact drawn from Mexican popular culture in relation to processes of historical representation, and far more about the examination of the role Los agachados was playing in the construction of a particularly Mexican ‘structure of feeling’ (Raymond Williams) during the 1960s. If there was a sense of political disenfranchisement, for example, then the state-student conflict was arguably illustrative of the mood of the nation and this edition of Los agachados effectively articulated that mood: but is it the case that this emergent ‘structure of feeling’ from the 1960s has today become residual or even irrelevant?

Anna Kingsley, Royal Holloway, University of London

Femicide and the Exploited Body: Snuff, Violence and Voyeurism in Enrique Arroyo’s Mexican short film, El otro sueño americano.

El otro sueño americano (2004) is an acclaimed short fiction film directed by Enrique Arroyo and produced in response to the ongoing femicides in Ciudad Juárez. It is a dystopian tale that recounts the final ten minutes of a female migrant’s life in the passenger seat of a Mexican police car at the U.S.-Mexico border. Scenes of a violent, sexual nature coupled with explicit verbal abuse are captured via the Orwellian lens of a surveillance camera within a single sequence shot. Unlike traditional cinematographic praxis, the low-quality pixilation of the film and polemic subject-matter parallel both the aesthetic and thematic prescriptions of amateur snuff filmmaking and engineer a chilling sense of realism for the spectator.

This paper will consider how Arroyo politicises the female body as a site of exploitation. It will analyse how gendered corporeality is depicted as an immaterial commodity, abused and traded to satisfy the sado-sexual whims of a morally vacuous, globalised economy operating on the borderspace. The focus of this paper will explore the purpose of the pseudo-snuff framing and how exploitation transcends further than physical infliction and into the realms of linguistic violence. Drawing on theories of ‘the gaze’ and spectatorship, I will also question the ethical tensions that emerge which grapple with the paradoxes of ontological pleasures of voyeurism alongside the witnessing of inflicted suffering.

Dr Catherine Leen, National University of Ireland Maynooth

Aliens as Superheroes: Science Fiction, Immigration and the Photography of Dulce Pinzón

Dulce Pinzón’s project, entitled ‘The Real Story of the Superheroes’, celebrates Mexican and Latina/o immigrant workers in the United States. The 2012 book which compiles the images features 20 photographs of immigrant workers living in New York, 18 of whom are from Mexico, while the other two are from Puerto Rico and Ecuador. Pinzón’s work is a striking combination of documentary photography and fantasy, as her subjects go about their everyday jobs dressed as superheroes. She was inspired to take the photographs in the wake of 9/11, when the increased hostility towards migrants in the United States was coupled with an intense celebration of the heroes who attempted to cope with the terrorist attacks and the subsequent resurgence of the superhero genre. Pinzón’s choice of the visual motif of the superhero raises the paradox that these popular cultural icons are frequently engaged in defending the United States from alien invasions, which are often thinly veiled references to fear of immigrants. I will argue, however, that Pinzón employs the hybridity inherent in these characters, and which has marked photography in Mexico from its inception, to present alternative heroes using a language that is normally associated with U.S. hegemony and oppression. Her work deftly combines popular culture and documentary to create works that are wryly humorous but nonetheless raise issues about discrimination, neoliberalism, and the nature of heroism in a transnational world.

Dr Deborah Martin, University College London

Disappearing children: Spectrality, time and inheritance in Eugenio Polgovsky’s Los herederos

Eugenio Polgovsky’s documentary Los herederos emerged to critical acclaim and numerous awards in 2008, part of a broader cinematic focus on childhood and youth indicative of a cultural meditation on identity and inheritance at this transitional moment in Mexican history. The film depicts rural child labour in six Mexican states, but, unlike various films of the New Latin American Cinema which drew on images of the suffering child for their political impact, avoids representational strategies which objectify and sentimentalise the child. Echoes or ghosts of other cinematic childhoods resonate through Los herederos, which inherits from Los olvidados and others the idea of orphanhood as a cultural condition. This paper will debate the political uses and ideological import of childhood in this film, as site of critique, as means of re-directing the gaze away from the urban childhoods which are more often the cinematic or discursive locus of anxiety or critique, and concomitantly as a means of deconstructing the long-standing connection between childhood and rural idyll. It will consider the relationship between (child)-labour, time and spectrality in the film, arguing that whilst the film’s project is to depict lives and spaces continually in the process of becoming invisible (and thus to render visible the spectral), it also finds ways to re-materialise labour, through the dissipation of the separation between on-screen and off-screen, and the creation of a sensory and tactile ethnographic gaze as a means of overcoming the invisibilizing forces of the post-NAFTA rural labour market. The paper will argue that, through the film’s poetic explorations of haunted time and of the visual’s unique relationship to the spectral, it effects a form of resistance to the historical and economic processes it depicts.

Erica Segre, Trinity College and Cambridge University

Slow, Childlike and Actual: Texture as Commemoration in Contemporary Mexican Art and Illustration

If ‘la imagen hace la ausencia’, then the practices of laborious, painstaking accretion and non-indexical imagining which is attentive to the missing, violated and massacred through acts of non-representational elaboration based on the slow textures of mark-making, stitching and drawing explore a form of testifying that makes a virtue of the artisanal, the amateur and the protracted. Resistant to mass-mediatic necrophilia and the reproductive speed of its imaging networks, such projects tend to be suppressive of the platitudes of verbalized affect and uninterested in the fixities of the monumental or lapidary. This approach tends to favour a meditative thrift of invention and practice engaged in and by actuality. Troubled by the facility of coverage, the compliant processing of choreographed spectacles of torture, executions and forensic abundance, the installationist design of human material, these alternative creative interventions have questioned the axiomatic assumption of the inadequacy of means to measure or make intelligible atrocity or to express mourning so evidently belied by the proficiency and alacrity of public ritual and the articulacy of conventional sentiment. Texture in works by artists such as Lieberman, Polidori and Suter and in the practice of community collectives, offers a rethinking of trace and interrogates a forensic aesthetics reliant on bodily remains and the visuality of victimhood.

Dr Niamh Thornton, University of Liverpool

The Shadow of Death and Trauma in the Soap Opera, La reina del sur

Ana María López has written that the telenovela “ceaselessly offers its audience dramas of recognition and re-cognition by locating social and political issues in personal and familial terms and thus making sense of an increasingly complex world”. I wish to consider her assertion in relation to La reina del sur (2011), a telenovela that has broken audience figures in Mexico and Spain. Based on the novel by the Spanish author Arturo Pérez-Riverte (2002), co-produced by US, Colombian and Spanish TV companies and set in Mexico, Morocco, Spain and the US it is a truly transnational product. In particular, I am interested in the sites of difference and sameness that it locates within the protagonist Teresa Mendoza (Kate del Castillo) and how her evolution into a drug trafficker functions as a way of working through the current violence in Mexico in a transnational context, thereby making the drugs war less Mexico’s and more of a global problem. Teresa is a powerful woman who is fearful of her life, not because she is a woman, but because of her association with drug dealers. At first, this is because her boyfriend is a smuggler, and then because she herself becomes a powerful trafficker. Where the narratives set on the borderland emphasize women’s vulnerability, La reina del sur follows how she attains power. The narrative also re-inscribes the borders by placing the narrative at multiple liminal sites. This article will consider the implications of this strong female character and of the multiple locales in which the narrative is set.

Dr Dolores Tierney, University of Sussex

Memory and Trauma in Carlos Bolado’s Colosio: El Asesinato (Mexico/France/Spain/Colombia 2012)

In March of 1994, the presidential candidate Luis Donaldo Colosio was shot and killed during a visit to Tijuana. Although a man (Mario Arbuto Martinez) was convicted of Colosio’s murder, the case was never sufficiently resolved for most Mexicans and has subsequently given rise to multiple conspiracy theories about who was really responsible for his death. These include pointing the finger at members of Colosio’s own party (the PRI) who, it is suggested, were worried his anti-corruption plans would damage their own interests.

In 2012 Carlos Bolado’s Colosio: El Asesinato probes the politics behind the murder from the perspective of a secret investigation. Colosio, proved to be a timely film, released just days before the elections in a campaign where the PRI’s then presidential candidate Enirque Pena Nieto (who went on to win the election) faced allegations of corruption.

Colosio was a huge box office draw, becoming the highest grossing domestic release of 2012 ($4.4 million). Its success points to the ongoing significance of the Colosio case and the many other public deaths (massacres, assassinations) of Mexico’s recent history which persist in the national memory, despite official efforts (Colosio has had five enquiries to date) to expunge them. This paper looks at how national trauma is investigated and memorialized in Bolado’s film. It argues that, like other political thrillers Colosio focuses on the paraphernalia of modern detection (videos, forensics), but also functions (as Bolado himself has suggested) “to recuperate the memory” of the event and its significance for contemporary Mexico.

Dr Peter Watts, University of Sheffield

The Return of the PRI and the Politics of Distraction

Polls suggest that Enrique Peña Nieto is the most unpopular Mexican president in decades. The return of the PRI in Mexico in 2012 coincided with a widespread rejection of the guerra al narco, the militarized strategy employed ostensibly to combat the power of organized crime. While the public relations strategy of Peña Nieto’s predecessors employed an incessant discourse and imagery of inter-cartel violence in order to shape public opinion and to foment a climate of fear among the population, the new government has instead sought to manipulate popular attitudes by rebranding and downplaying the violence of the drug war. And a more concerted effort to distract popular attention away from the violent crisis currently affecting large parts of Mexico has been even more pervasive. This paper considers the rosy and optimistic PR of the Peña Nieto government against the backdrop of an increasingly brutal, unstable and unequal status quo and argues that the politics of distraction from the erupting violence are the latest means intended to prevent a disillusioned populace from political participation and action.

Traspatio-2009-Carlos Carrera

Screenshot from Traspatio/Backyard (Carlos Carrera, 2009)

Speakers’ Bios

68 68 B 

Dr Julia BanwellLecturer at the University of Sheffield.

Prof Nuala Finnegan is Director of the Centre for Mexican Studies at University College Cork, Ireland. She works on contemporary Mexican culture with a particular focus on gender. Current projects include work on cultural responses to the Ciudad Juárez femicides and an edited collection on the filmic and photographic output of celebrated author, Juan Rulfo (forthcoming 2015). She is Head of the School of Languages, Literatures and Cultures at University College Cork.

Dr Miriam Haddu is Senior Lecturer in Mexican Visual Culture at Royal Holloway, University of London.  She is author of Contemporary Mexican Cinema (1989 – 1999): History, Space and Identity, published by Edwin Mellen Press, 2007 and co-editor of Visual Synergies Fiction and Documentary Filmmaking in Latin America, published by Palgrave Macmillan in 2008. She has published on the subject of photography and film in Mexico, and is currently working on a monograph entitled Mexican Cinema: a Decade of Fiction and Documentary Filmmaking due to be published by Palgrave Macmillan, 2015. Miriam Haddu has curated photography exhibitions on the work of Mexican photojournalist, Araceli Herrera, held at London’s South Bank Oxo Gallery, in the UK in 2004, and at the ASU Art Museum, in 2005, in Arizona, USA. She is currently working on a future exhibition project on Mexican photography due to be held in London and in the US.

Dr Chris Harris, Senior Lecturer at the University of Liverpool.

Anna Kingsley is a PhD candidate in the Hispanic Department at Royal Holloway, University of London. Her research focuses on representations of the Juárez femicides in contemporary visual culture​.

Dr Catherine Leen is Lecturer in the Department of Spanish at the National University of Ireland, Maynooth, Ireland. Her teaching and research interests centre on Mexican and Chicana/o literature and cinema and Argentine and Paraguayan cultures. In 2008, she received a Fulbright Scholarship to conduct research at the Chicana/o Studies Centre at the University of California, Santa Barbara. Her most recent publication is a volume entitled International Perspectives on Chicana/o Culture: “This World is My Place,” coedited by Dr Niamh Thornton and published by Routledge, New York, in 2014. She is currently completing a monograph on Latina/o filmmakers and Mexico.

Dr Deborah Martin is a Senior Lecturer in Latin American Cultural Studies at University College London. Her research focuses on Latin American cultural production with a particular emphasis on cinema, and draws on a broad range of methodologies, including film theory, gender and sexuality studies, and childhood studies. She is the author of several articles on Latin American literature and cinema, and a book, Painting, Literature and Film in Colombian Feminine Culture: Of Border Guards, Nomads and Women (Woodbridge: Tamesis, 2012 which discusses the work of painter Débora Arango and novelist Laura Restrepo, alongside women’s documentary filmmaking in Colombia. Deborah is currently working on two book projects. The first, Lucrecia Martel, is a detailed study of the Argentine director’s work, and will be published by Manchester University Press. The second, Representations of the Child in Latin American Cinema, considers the political associations of the child-figure, the politics of representing the child, and the relationships of these issues to film aesthetics.

Erica Segre is senior Lecturer in Latin American Studies, teaching in the Department of Spanish and Portuguese and the Centre of Latin American Studies, University of Cambridge (UK) and a permanent Fellow of Trinity College. She specialises in nineteenth-century Latin-American literature, thought and visuality and twentieth-century and contemporary visual culture (photography, art and film). She has lectured and published extensively in these areas in Britain and abroad. She is the author of Intersected Identities: Strategies of Visualization in Nineteenth- and Twentieth-Century Mexican Culture (New York/ Oxford: Berghahn Books, 2007) and the contributing editor of Ghosts of the Revolution in Mexican Literature and Visual Culture: Revisitations in Modern and Contemporary Creative Media (Oxford/Bern/New York: Peter Lang, 2013). She has organized international, interdisciplinary symposia on the film and visual culture of Mexico and Latin America such as Site Unseen: Rethinking Interdisciplinary Practice in Contemporary Latin American Art (post- 1980), Cambridge (2011).  She is the author of ‘The Sovereignty of Things: Nationalism and its Materials in Mexican Photography (1920s-1940s)’, Bulletin of Latin American Research (2010). Recent publications include chapters  on: ‘The Complicit Eye: Directorial and Ocular Paradigms in Luis Buñuel’s Mexican Films and Interdisciplinary Visuality (1940s and 1950s)’ in A Companion to Luis Buñuel edited by Rob Stone and Julian Daniel Gutiérrez-Albilla (Oxford and New York: Wiley-Blackwell, 2013) and  ‘El convertible no convertible’: Reconsidering Refuse and Disjecta Aesthetics in Contemporary Cuban Art’ in Latin American Popular Culture: Politics, Media, Affect edited by Geoffey Kantaris and Rory O’Bryen (Woodbridge and New York:  Tamesis/Boydell & Brewer, 2013).  Her chapter on ‘Pictorial Eviscerations, Emblems and Self-Immolation in Mexico: Dissensus in the Work of Enrique Guzmán and Nahum B. Zenil’  will appear in a forthcoming book on Sabotage in Contemporary Latin American Art ( 2014).

She is currently completing a book on indeterminacy  and interdisciplinary practices in Mexican visual culture and creative media (writing, photography, visual arts ) from the  nineteenth century to the present day. She is also working on a study of  indigeneity  and contemporary art/photographic practice in Chile and Mexico.  She has a long term interest in Mexican photography and its private archives especially in relation to Manuel Álvarez Bravo.

Dr Niamh Thornton is Senior Lecturer in Latin American Studies at the University of Liverpool. She is a specialist in Latin American Studies with a particular focus on the film, literature and digital culture of Mexico. She has a research interest in the war story, the Mexican Revolution, the creation of online selves through online tools and sites, and star studies. She has published on Mexican and Chicana/o film, new medias, and literature. She is author of Women and the novela de la Revolución in Mexico (2006) and Revolution and Rebellion in Mexican Cinema (2013). She has published several co-edited volumes. The most recent of these is with Catherine Leen, International Perspectives on Chicana/o Culture: “This World is My Place”. More details on her publications and research projects can be found on her website:

Dr Dolores Tierney Senior Lecturer in Film at Sussex University. She has published widely on Latin American film and media, is the author of Emilio Fernandez (2007), co-editor of Latsploitation (2009) and co-editor of The Transnational Fantasies of Guillermo del Toro (2014). She is currently working on a book about transnationalism in Contemporary Latin American Cinema. Co-founder and co-editor of Mediático, an assorted weekly research related editing, writing and blogging and related social media activities.

Prof Julia Tuñón Pablos, Senior Researcher at the National Institute of Anthropology and History, Mexico City. She received her doctorate in History from the Faculty of Philosophy and Languages at the UNAM (Universidad Nacional Autónoma de México/National Autonomous University of Mexico, Mexico City). She is currently a researcher at DEH (Dirección de Estudios Históricos/Department of Historical Studies) of the INAH (Instituto Nacional de Antropología e Historia/National Institute of Anthropology and History) in Mexico City. She was awarded the Emilio García Riera medal for her academic excellence in History by the University of Guadalajara, Mexico, the Gabino Barreda medal by the UNAM for her doctoral and master’s studies and the “Susana San Juan” literary essay prize by the INBA. She has taught at the UNAM, the Sorbonne, Paris 8, Colegio de México, the Universidad Autónoma Metropolitana, and the Universidad de Guadalajara.

She has published extensively on the history of women in Mexico and on classical Mexican cinema. Her publications include: Cuerpo y espíritu. Médicos en celuloide (México, Secretaría de salud-Bayer, 2005), Los rostros de un mito. Personajes femeninos en las películas de Emilio Indio Fernández (México, Conaculta-Imcine, 2000. 1a.reimp. 2003), Mujeres en México. Recordando una historia (México, CONALCULTA, 1998 y 2004), later publised in English as Mexican Women: A Past Unveiled (Austin, University of  Texas Press-Institute of Latin American Studies, 1999) and Mujeres de luz y sombra en el cine mexicano. La construcción de una imagen. (1939-1952 (México, El Colegio de México-Imcine, 1998), En su propio espejo. Entrevista con Emilio “Indio” Fernández (México, UAM-I, 1988), and Historia de un sueño: el Hollywood tapatío (México, Instituto de Investigaciones Estéticas  de la UNAM- CIEC de la Universidad de Guadalajara, 1987).

Dr Peter WattLecturer at the University of Sheffield.

Dates and place


This one day symposium will consider the representations of memory and trauma in twentieth and twenty-first century Mexican visual cultural productions. The international conference will bring together experts working in the field of Mexican film and visual culture in order to explore notions of memory, representation, absence/presence of death and trauma in fiction/documentary filmmaking, installation, plastic/digital arts, photography, performance and necro-aesthetic arts, as a means for exploring and articulating traces of a collective condition. The conference will provide the forum for creating a long-lasting network of scholars from the UK, Ireland and other European nations, who are working in the field of Mexican visual culture.

To be held on the 12th September 2014

Venue:   The Court Room (Senate House, first floor)

Venue Details:

Senate House
Malet Street
London WC1E 7HU


We will update this page with more information on the schedule soon.

Register here.