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Tequitqui Art

Archive of the Cultural Syncretism of the Mesoamerican Folk 

Elizabeth Ortega Rodriguez, Fragments, 2010, Keramik-Niedrigbrand
Elizabeth Ortega Rodriguez, Fragments, 2010, Keramik-Niedrigbrand
Elizabeth Ortega Rodriguez, Heart, 2009, Keramik-Hochbrand, 18 x14 cm
Elizabeth Ortega Rodriguez, Numbers, 2010, Keramik-Niedrigbrand, Durchmesser 2.5 cm
During the creation of new artistic forms in the XVI century in Mexico, there was an attempt by the Indigenous artisans / artists to revisit their own aesthetical parameters considering the new conditions in which their visions had to be imprinted. Through this process, new hybrid artistic characteristics emerged. Rules and formats changed as power struggles among Spanish institutions and Indigenous cosmogonies and ideologies were taking place. The tension among the two groups reached a point where they transgressed each other and this exact point where they met is what has been denominated Tequitqui Art.

Nowadays, various contemporary artists revisit the sujet that relates to the Spanish conquest and its mestizo effects. They return to the usage of symbols and other pre-Columbian motifs with the intention of recovering this cultural legacy and imprint it in their work; moreover, they have developed their own artistic interpretation which encompasses all ethnical, cultural, social, and political aspects of the actual Mexican society. Pre-Columbian art serves in function of archive for Tequitqui and contemporary art, because both groups of artists use symbols of pre-Columbian tradition.

The temporal disparity between the creation of Tequitqui and contemporary art grants the first one the nature of a Derridaean archive. Determined by its future, (the current), Tequitqui Art becomes an archive for being a source of inspiration for contemporary artists as relevant to their artwork. The idea of religious mélange proper of the creation of Tequitqui Art, is no longer approached nor reproduced in the contemporary art, but the principle of syncretism is the one relevant aspect of Tequitqui Art that contemporary artists refer to when revisiting it as archive. The reference to Tequitqui’s syncretism can be seen in the use of a hybrid principle in contemporary artistic manifestations.

Tequitqui art serves as archive in two ways for some contemporary artists. One archontical function is that of using pre-Columbian symbols which are, adapted in contemporary times and the second function being the use of a syncretic principle, which is the mix of two cultures. While Tequitqui art merges traditional pre-Columbian symbols and superimposed Spanish catholic iconography, contemporary art denotes different aspects of syncretism.

(Auszug aus der Master Thesis)
Master-Abschlussprojekt, 2010
Elizabeth Ortega Rodríguez (Mexico)
Master of Fine Arts an der HFBK seit 2008
Abschluss 2010
Betreuung HFBK:
Prof. Matt Mullican, Prof. Michaela Ott, Prof. Hanne Loreck
Theorie und Geschichte
Kunstgeschichte/Kunsttheorie > Sonstiges
Bildhauerei > Sonstiges