Polski Instytut Studiów nad Sztuką Świata [Editor]
Sztuka Ameryki Łacińskiej: studia o sztuce kolonialnej, nowoczesnej i współczesnej — 4.2014

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Marta Skwirowska

Judas en Tepito, Mauro Altschuler, México-Argentina, 2007, 45’.
Pedro Linares, de: Grandes Maestros del Arte Popular, Conaculta: México.

Devil, pírate and Felipe Calderón. About different images
of Judas in Mexico
The purpose of this text is to give the perspective of the contemporary festivity
of “Burning of Judas” in Mexico and Mexico City, being a celebration of colo-
nial origins, as well as the role of art objects belonging to so-called arte efímero.
In the past, traditional objects produced in cartonería technique (known in Eu-
rope as papier-máché technique) were related more to various ceremonies held
throughout the year: burning of Judas at Easter, piñata breaking at Christmas,
ceremonial masks as well as quasi-theatrical dolls called mojigangas. Nowa-
days, artists are widening the scope of their works, creating so-called alebrijes
- fantasy creatures, which are regarded by some researchers as the example of
surrealism in folk art. Whereas traditional cartonería objects were made for par-
ticular festivals, alebrijes are not related to any of them and are the example of
individual forms. The text also discusses different images of Judas and the ritu-
al of burning of him during the Holy Week in Mexico City against the histor-
ical background. Judas in Mexico is not only a biblical betrayer of Christ. He
serves as an instrument of criticism, has a face of a politician and a commenta-
tor. His stylistic appearance has been greatly influenced by social and political
events. Diego Rivera made Judas a part of his several paintings and murals. In
many places of Mexico, these annual celebrations of folk origin take at the same
time a form of happenings or a city event of a performance art type. The paper
is based on the research conducted in Mexico in 2008-2009 as well as on ref-
erence books.


Diabeł, pirat i Felipe Calderón.

Punktem wyjścia do rozważań są współczesne święta i obyczaje w Meksyku
o korzeniach sięgających czasów kolonialnych oraz rola przedmiotów z gatun-
ku arte efímero. Tradycyjne obiekty wykonywane w technice cartonería (znanej
na gruncie europejskim jako technika papier-máché) dawniej przede wszystkim
nawiązywały do roku obrzędowego: tradycyjnego palenia Judasza na Wielka-
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