English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

By highlighting certain paradigmatic moments and protagonists in Mexican contemporary art that reach back to the second half of the last century and continue until today, this article aims to show the undeniable “intermedial turn” that has become foundational not only for understanding current artistic movements in Mexico, but also for Mexican academia, where critics have only gradually started to recognize how an intermedial perspective may help them understand and analyze artistic proposals that can no longer be discussed from a strictly mono-disciplinary standpoint. Contributions by emblematic artists such as Mathias Goeritz, Felipe Ehrenberg, and Ulises Carrion, who have used words, images, and sound elements to broaden artistic boundaries in new and surprising ways, have been echoed and problematized in novel forms by contemporary visual artists such as Carlos Amorales and Jorge Mendez Blake as well as media artists Rafael Lozano Hemmer and Eugenio Tisselli, some of whom are also valuable interlocutors in matters of intermediality as they continue to critically theorize and sharply reflect on these types of practices.

Thinking Intermediality in Mexico through Artistic Input