A Zoo of Crafts. This issue spotlights handicrafts that feature in fascinating stories told about animals in indigenous communities around Mexico. Oral tradition is the most common source of these intriguing fables, which are often anonymous and tend to reveal aspects of a community’s culture, handed down from one generation to the next. All the stories compiled here share a unique wit in their unexpected details, taking the reader by surprise. In this zoo of crafts, folk art exhibiting a wide diversity of styles and materials shares the magazine’s pages with clever morality tales whose unusual crafting represents peculiar worldviews.

Posada: A Genius of Engraving. This book was written for all readers: neophytes will discover a broad overview of José Guadalupe Posada’s work through a series of images from his primary collections, along with an elaborate account of this life; aficionados will have access to never-before-seen images and the latest studies on this outstanding Mexican artist. What’s more, the book explores Posada’s techniques and his vast body of work. Commissioned by a plethora of publishers, the images are examined here in great detail with respect to their meaning and influence

Ancestral Rituals of Guerrero: The Renewal of Cohesion. The indigenous communities of Mexico and their ritual practices constitute the culture’s foundation, to which we are greatly indebted for the nation’s resilience and adaptability. The rituals of Guerrero are a prime example. Steeped in irrefutable references for their members and offering guiding principles that give their lives meaning, these rituals are structured in a particular way; they create, shape and define the community by way of cohesion. This issue sets out to rediscover these wondrous forms of cultural expression as a way of understanding them, and thus of recognizing their value.

All beings in the universe have their place and importance. Based on this belief, Rafael Doníz approaches his photographic work freely, and in constant search of beauty and all that inspires him. Moved more by the simple joy of seeing, in Simbología de la forma, the author gives us a discovery in each vision. The multiple photographs in this book reveal to us the creative nature of forms; "the most ancient life turned into stone"; "the hidden stones turned into light" and the work of those who look at them. As it leads us through its pages, the book inevitably refers us to the author's thesis: "light is a metaphor for shadow and shadow is a metaphor for light".

The Art of Gabriel Figueroa. In this monograph—the first to be published on this important photographer—Gabriel Figueroa himself speaks of his career and his politics, his creativity and his passion, while important authors explore some of his main influences and trace his steps to the time he became one of the people who created an image of our nation.

Talavera Pottery from Puebla. Puebla’s ceramic tradition is an art form with historic ties to the kitchen, the convent, building façades and the workshop. These spaces form a world where reality and fantasy mingle, and the hands that produce, buy and sell are joined with the hands that paint their dreams onto clay pots. This issue offers a glimpse into a fascinating world.

The Franz Mayer Museum. This issue is at once an invitation, a guide and a catalogue to the exceptional collection of applied arts found at one of the finest museums in the country. A guided tour through a space where art exists alongside crafts and decorative arts in perfect yet astounding balance.

Azcapotzalco. Azcapotzalco lies northwest of Mexico City. In this issue, we rediscover parts of the history and traditions of a town—whose inhabitants call themselves chintololos—from the pre-Hispanic period (and the Tepanec civilization) through the colonial era (and the important role played by Dominicans) to the present day.

Mazahua Textiles. When the Mazahua come on pilgrimage to Mexico City, the women look like tiny rainbows weaving their way down the road. Yet they become invisible once in the big city; we are so accustomed to seeing them that we no longer take notice. This issue takes us on a fascinating journey to rediscover this community.

Chocolate: Cultivation and Culture in pre-Hispanic Mexico. In the rainforests of Mesoamerica, the first cacao tree was born and the first Maya sheltered in its shade and used its beans both as a currency and to prepare the frothy beverage of the nobles. This issue explores the ancestral relationship between humans and cacao.

The Jesuits: Constructing the Mexican Nation. After their expulsion in 1767, the Jesuits from New Spain spent their days reflecting on a society that would become the Mexican nation. These thinkers were the first to adopt the name “Mexicans” for the inhabitants of this region, building a shared memory and proposing useful projects to take fuller advantage of the area’s natural resources.

Chocolate II: Mysticism and Cultural Blends. With the arrival of the Spaniards, cacao experienced its own cultural blends. The colonists of New Spain discovered its medicinal properties, but it also became the subject of heated moral and theological debate. This second issue deals with the changing views on chocolate and its impact on the Western world, and includes traditional ways of preparing cacao, one of Mexico’s great contributions to the world.

Carlos Mijares Bracho, Architect. Carlos Mijares Bracho reinterprets the relationship between construction materials, space and geometry. His work enquires into the possibilities of brick: a material manufactured out of four natural elements, a living thing, an essential architectural object turned into an aesthetic. The architect’s legacy is captured in what we might call a poetics of structural brickwork.

The Art of Maya Timekeeping. The Maya created two calendars and several timelines that charted every major event, whether mythical or historical. Their awareness of time and timekeeping acquaints us with their understanding of life. Indeed, in spite of the Spanish conquest and hundreds of years of colonial rule, their timekeeping methods proved impossible to eradicate.

The Mermaid of the Desert. There is only one mermaid left in the Sonora Desert. One day, she discovers that she descended from beautiful ancestors with melodious voices. How wil she ever recover her family secrets?

Pre-Hispanic Codices. Ancient Mesoamerican books were painted by tlacuilos, whose hearts were said to have been touched by gods since they could communicate with them. These painter-scribes left us an extensive collection of stories about their gods, their ritual and medical knowledge, and their ancestors’ deeds and genealogies. In this issue, we explore those few books that have survived since pre-Hispanic times.

Chocolate III: Ritual, Art and Memory. This third volume dealing with chocolate offers up an irresistible banquet that extends from the pre-Hispanic era to the mid-twentieth century. This issue is meant as a kind of chocolate box wherein each text contains its own flavor and wisdom.

From Red to Mexican Pink. If countries were colors, one might say that Mexico glows in purples, pinks and reds, including the shade we all know as Mexican pink. This issue is an invitation to discover the cultural relevance of all the hues that have left a mark on our country.

The Tarahumara: Paths, Threads, Words. For the Tarahumara, also known as the Rarámuri, to live is to walk. They are known for embarking on long journeys through the sierra to imbibe teswino (sacred corn beer) and to work the land. In their dreams, their souls pursue unexpected courses; their rites and history are also roads. This issue is a fascinating voyage along these paths of the Rarámuri, who indeed have much to show us.

Traditional Toys I: Crafting Fantasies. Toys occupy a singular place in culture since they are more than mere objects. In the act of play we learn our society’s codes: we construct in fantasy a world that is easier to live in. This issue gives us a glimpse of traditional Mexican toys as a testament to the greatest of all our treasures: the capacity to imagine.

Traditional Toys II: Life in Miniature. Toys are a world in miniature, but their smallness does not imply any limitation. Dolls, toy cars, balls… they all prepare us for life. They enlighten us in so many ways. This issue encourages readers to pause and think about toys, to enjoy their beauty, and most importantly, to play.

Mathias Goeritz: Obsessive Creativity. 2015 marks the hundredth anniversary of Mathias Goeritz’s birth and a quarter century since his death. As a tribute to this exceptional artist, this issue also explores his legacy as a writer and teacher as he spurred the modernization of Mexican art in the twentieth century, leaving his indelible mark on it.

Mathias Goeritz II: A Passion for Space. The concept of “emotional architecture” was central to the life and work of Mathias Goeritz: its holistic approach meant each piece was viewed as a space of confluence for various media: architecture, sculpture, painting, writing, etc. In this second issue on Goeritz, several experts voice their opinions on this defining aspect of his practice.

Taxco. The approach to Taxco is a winding road from which one can glimpse a terraced mountain city with countless clay-tile roofs. It gives the impression that it is only there because of a whim of nature. This issue explores the history, aesthetics and personality of this hauntingly beautiful colonial city of silver.

In Search of the Deer. In this issue we explore the deer’s cultural impact on the customs of the Yaqui, Mayo, Huichol, Nahua, Zapotec, Chinantec and Maya people, in an effort to help protect this endangered species, whose extinction would jeopardize valuable traditions across the country.

Shamanism: Darkness, Silence, Absence. What is the role of the shaman? Does the shaman cure illness? Rescue lost souls? Metamorphose into other beings? Perhaps the answers to these questions lie in the darkness, the silence and the absence that shamanic rituals seek out. This issue is an invitation to learn about the important role of the shaman in Tzeltal, Huichol, Nahua, Tepehua and Tepehuano communities in Mexico.

Lucha libre: Stories with no time limit. Over the decades, lucha libre has become a symbol of Mexico, transcending the nation’s borders. Its cultural significance is massive since it became symbolic of urban working-class culture. What remains concealed behind the wrestler’s mask? What riveting stories are being written in the ring? How did these images of Mexican pop culture get transposed into the highbrow realm of contemporary art? This issue explores the aestheticism and the passion inherent in these masked duels.

Lucha Libre II: Tag Team. Our second issue on Mexican wrestling continues the exploration of the complex nature of this spectator sport through a pivotal text written by Roland Barthes, who dubbed it: “the spectacle of excess.” From this perspective, we examine different aspects of this ritualized form of combat: the way the world of Mexican wrestling is organized, female wrestling and the imaginary world of wrestling action figures. This issue also delves further into the visual connections between wrestling and contemporary art.

Jaguar. The jaguar is the largest felid on the American continent and its strength, ferociousness, agility, cleverness and beauty fed the imaginations and spirituality of Mesoamerican peoples in unsuspected ways. In spite of this animal’s unquestionable relevance in ancient Mexican religion, politics and everyday life, surprisingly little has been published about the jaguar’s rich cultural associations—a shortcoming that the writers in this issue attempt to remedy.

Seeds of Identity. 31 Foods Mexico Gave the World. Over the centuries, Mexican cuisine has incorporated flavors that today form part of the nation’s identity. Ways of life, ideas, stories, traditions and rituals are implicitly connected to plants like the agave, nopal, chili, cacao and squash. This issue presents the impressions of some of the first European travelers and missionaries in Mexico, who upon arrival discovered unusual flavors, along with the culinary traditions of native Mexicans.

Seeds of Identity II: Nine Treasures from Mexico. In this issue, we focus our attention on nine native Mexican foods: avocados, amaranth, cacao, squash, chili peppers, beans, turkey, tomatoes and corn. Experts on the topic tell us about different aspects in terms of their cultivation, distribution, consumption, international dissemination and special characteristics.

Hospicio Cabañas. The Hospicio Cabañas, an almshouse founded by Bishop Juan Ruiz de Cabañas y Crespo, is a complex construction, given its history, its singular architecture and the artworks it shelters. In this issue, we examine Ruiz de Cabañas’s project, Manuel Tolsa’s architectural design, the wide range of texts that have been written about the almshouse and the institution’s historical archive.

Chili Peppers: Ancient Fruits. Chili has been one of the essential ingredients in Mexican cuisine since pre-Hispanic times. The adaptability of this seed to transform itself into other varieties and adapt to new environments, the different degrees of spiciness, the medicinal properties and the historical, cultural and ritual background that has been created around chili are some of the topics that motivate these pages. These visions are also accompanied by proverbs, riddles, popular songs, stories and texts of missionaries and travelers of the 16th century that complement the cultural richness that chili awakens in our country.

Sacred Plants. The story of Mexico’s indigenous communities is based on their unique worldview. An important facet is the ritual use of entheogens –“that which generates the divine within”, according to R. Gordon Wasson- by healers and shamans in order to create the right environment to commune with the gods. Artes de México’s 127th issue illustrates how the use of mushrooms, peyote, and marijuana by indigenous communities goes far beyond the intoxicating effects most people seek. Along this journey, we explore how these plants are used by the Maya, Nahua, Mazatec, Huichol and Otomi, and the way in which their environment aligns with realities outside our own, enabling humans, spirits and gods to coexist on the same plane.

Masks: Faces of Otherness. This issue of Artes de México explores the history, meaning and uses of masks among indigenous communities in Mexico. In these pages, anthropologists argue that, within the context of the ritual, masks are artifacts that open the door to other times and spaces, allowing those who wear them to establish relationships with beings from other realms. The experts take us with them on their travels to meet different ethnic groups in various regions around Mexico, showing us how these objects encapsulate their worldviews.

Ocumicho: A Fabled Craft. The residents and artisans of San Pedro Ocumicho in Michoacán have long used clay to shape the life of their community, thus leaving an imprint on Mexico and the rest of the world. In this issue, we examine the surprising, delirious, satirical forms of the “Devils of Ocumicho” and their cultural and historical significance. These painted clay sculptures—playful demons, Virgin Marys, historical figures, trees, whistles—betray the craft’s inspiration in unconventional fables that have been retold over generations.

Amulets. Looking to anthropology, history and literature, this issue examines the multiple meanings and varied forms of amulets: objects steeped in magical power, beliefs, hopes and frustrations. With each article, the writers bring us closer to the more universal purpose of amulets—protecting us from evil and fostering good luck—while unraveling strands of the complex web that imbues amulets with magic, mystery and symbolism. In this issue, Artes de México invokes the protection of the amulets that appear on its pages—the Hand of Fatma, the Saint Benedict medal, coral, scapulars, gold tintinnabula, ankhs, relics, cimarute and others—and we fervently wish that it may be extended to our readers, as well.

La Roma. When we take a stroll through a given neighborhood, we embark on a journey through our imagination. As we are bombarded by images, we cease to see our surroundings as they truly are, but rather as we wish them to be. The Roma neighborhood cannot escape this fate: she continuously mutates to fulfill the aspirations of passersby and ceases to be herself in order to satisfy our visual demands. How many Romas are there? How many Romas can we experience? How does our perspective change in the face of each rendition? This is the journey—real or imagined, defiant or indulgent, categorically incomplete and forever fragmentary—that is explored in this issue’s pages.

A Culinary Compendium of Beasts in Mexico. Since their “discovery,” the Americas have broadly contributed to the diet of the rest of the world, and the flavors of the region’s endemic foods continue to be all the rage around the globe. What kinds of wars over food did the Spaniards wage upon their arrival? In their dealings with indigenous peoples, they were inevitably exposed to new foods and learned the relevant cooking techniques. This issue features a compilation of excerpts from texts written by various annalists who ventured to taste dishes prepared with manatee, snake, dog or rat meat, and insects. These chronicles show us again how food, in its broad diversity, forms part of our culture.

Guadalupe Tonantzin. Reflections. Mexico's association with Our Lady of Guadalupe is a vital one in terms of spirituality, history an culture. How was this fruitful relationship born? And how did the sacred image take shape to eventually become a crucial component of Mexican identity? These are only a few of the questions examined in Artes de México’s 125th issue, “Guadalupe Tonantzin”. The nation has developed a unique spiritual discourse around this icon and by understanding it, we may discern the critical importance of Guadalupan worship.This is an invitation to join the expedition.

Spaces in Mexican Art. “Our soul is a dwelling,” wrote Bachelard. “And when we recall its rooms, we learn to dwell within ourselves”. Therefore, by examining the mystery of our aesthetic spaces, we will be better able to live with what we are. This issue pays homage to the creative potential that exists in Mexican spaces.

Mexican Cinema: A Revision. A study in contrasts, familiar images, sequences, composition, faces and situations. Some of its greatest moments as seen through the eyes of Mexican actors, directors and film-buffs.

Abel Quezada. Abel Quezada’s career as a newspaper illustrator was clearly one of the most brilliant in the history of Mexican journalism. Besides being a newspaperman and a caustic commentator, he was also a key figure in the Mexican artistic and intellectual milieu, a comic narrator, a painter with a keen eye and a man brimming with legends and stories.

Art of the Templo Mayor. Strange, astonishing and often even terrifying, the stone vestiges of the era we identify with Mexico’s ancient civilizations always leave us with the sensation of coming face-to-face with an enigma. The pages of this issue introduce us to some of the mysteries of Mexica (Aztec) architectural spaces, and help us to decipher aesthetic, historic and poetic aspects of Tenochtitlan’s sculptures.

Castas Painting. New Spain’s society was based on a caste system that gave rise to a genre of painting that is both aesthetically pleasing and an invaluable source of information about the period. The society was marked by mestizaje (racial mixing) and castas painting emerged as a way of representing differences and exploring the essence of Otherness.

Insects in Mexican Art. What place does the insect world occupy in Mexican art? How are insects portrayed in the illustrated myths of the pre-Hispanic world and in contemporary representations? This issue is a brief exploration of the subject, offering a few answers to our questions about these creatures that are fuel for the imagination.

Palaces of New Spain. During the viceregal period, palaces and their treasures—jewelry, gowns, furniture and ornaments—formed part of the need for ostentation among the upper classes. Today, these spaces and the objects they contain allow us to reach surprising conclusions as to the customs, obsessions, sense of fantasy and sensibilities of the gentry of New Spain.

The Art of Fortune. Artes de México’s thirteenth issue is an attempt to avoid the bad luck associated with this number by making it a colorful celebration of the “art of fortune”. Artists’ interpretations of this elusive and evocative topic, and games of chance as an expression of combinatory possibilities, geometric forms and mysterious mathematical operations.

Ceramics from Tonalá captivate each of our five senses. Our eyes are drawn to their shapes, colors and designs. Hearing and touch also participate in the enjoyment of their sonority, porosity and polish. Water stored in a clay pot from Tonalá is said to taste purer. But it is the sense of smell that truly benefits from our encounter with this pottery’s unique scent.

The Ritual Art of Child Death. The custom of making portraits of children after death has existed in Mexico for several centuries, as part of a ritual practice which converts sorrow into joy and celebrates these “little angels” transition into a new life. This issue offers an analysis of this poignant ritual art form.

Queretaro. Writers traveling to Querétaro generally refer to the beauty of the urban landscape as seen from the surrounding hills. This issue invites us to explore the city and discover the marks left by indigenous culture, the legacy of cultural syncretism, vestiges of the nineteenth century and echoes of modern Mexico. Views of the city’s architectural gems and the nearby mountain missions.

The Mexican Collection at the Ethnographic Museum of Berlin. German scientists, researchers, merchants, aristocrats, museologists and other specialists have long been curious about our Mesoamerican past, as seen in their collections of archeological pieces. Many of these collections were brought together at the Ethnographic Museum of Berlin, where they attest to the grandeur of Mexican culture.

San Luis Potosí. The spirit of San Luis Potosí can be seen in its predominantly neoclassical public architecture and its extraordinary baroque religious buildings: the city’s rectilinear severity is broken up by the sensual, dizzying appearance of churches. We published this celebration of San Luis Potosí’s beauty on the 400th anniversary of this city which is a rare desert flower.

Textiles from Chiapas. The imaginary threads of the past and present are woven among the threads of a huipil. Weaving in Chiapas reveals an extraordinary wealth of forms and meanings. This issue invites us to explore the aesthetics, use and ritual symbolism of these remarkable works of art.

Xochimilco. The story of a lush hidden garden full of trees and canals. It is also a masterpiece of pre-Columbian hydraulic engineering. The issue is an account of one of Mexico’s lake districts, from the time before the Conquest to the present. It shows us a colonial treasure in the midst of a paradise lost and then restored.

Oaxaca. The city of Oaxaca captivates its visitors with its beauty, archeology, cuisine, fine art and folk art, as well as its history. This issue includes accounts by writers, painters and photographers who have been seduced by the city’s charms, and invite us to return again and again, in body and soul, to enjoy its astounding light.

Mexican Treasures in Spain. During the viceregal period, many Mexican works of art and applied art were taken to Spain, thus strengthening transcontinental ties. These objects were silent witnesses to the daily life of the inhabitants of New Spain. Here, scholars in this field offer their interpretations.

In the World of Luis Barragán. Mexico’s architecture would be very different today had it not been for the contribution of Luis Barragán. These pages explore the life and work of a great Mexican architect, as well as his personal archives and library. The issue establishes a dialogue with the spaces and forms Barragán created, making our world a more habitable place.

Tiles. Tiles are Arabic in origin but have become emblematic of the Mexican aesthetic. They are the skin of Mexican architecture, and feature a variety of styles, forms, colors and applications. This issue contains stories and legends about the art of making tiles and living with them.

Viceregal Portraiture. Colonial portraits were made to be admired by the subjects themselves, who hoped to discover in them an image compatible with their inner fantasies. These figures, frozen in time, became the tangible representation of the dreams of several generations. The essence of New Spain’s society, its self-image and aspirations are revealed in these paintings.

Aguascalientes. The beauty of this city is revealed in details that possess the subtle charm of openwork embroidery. This issue invites readers to discover a place where baroque and neoclassical styles coexist, where visitors can make the acquaintance of hidden treasures, a surprising atmosphere and friendly people.

Tequila: a Traditional Mexican Art. Like the country that gave rise to it, tequila was the product of two cultures: the American agave and European stills. Over time, it became a national symbol. How did the attributes of Mexico and tequila wind up being fused into a single image? This issue explores the history and cultural references of this emblematic liquor.

Forgery and its Mirrors. The world of art forgery is a mirrored maze where we find everything from the professional forger’s psychopathology to the defiant personality of the artist who plagiarizes the work of other painters. These essays on imitation, copy, paraphrasis and other duplicities give us a sense of the fragile relationship between art and truth.

Visions of Guadalupe. An overview of the most significant icon in Mexican culture through the ages. The Virgin of Guadalupe is a synthesis of and witness to the history of Mexico and to countless popular and spiritual expressions that are deeply rooted in a society in the process of constructing its own symbols of identity.

Metepec and its Art in Clay. When asked whether he is an artist or an artisan, one potter in Metepec responded that he is only a lover of clay. This issue is a celebration of that passion as it explores the pottery of an exceptional community in the State of Mexico—from crockery and household objects to the most imaginative decorative pieces. There can be no doubt that this is a living and growing tradition.

The Nineteenth-Century European Traveler. After being captivated by the geography of Mexico, European travelers in the nineteenth century provided us with an important eyewitness record of Mexican history that also has great artistic value. These pages provide a glimpse into a soul intoxicated by the magical spectacle of Otherness.

Serpents in Pre-Hispanic Art. There are few motifs in Mexican art that are as charged with meaning as the snake. It’s associated with life and death, earth and water, the world and the underworld. This exploration reveals the metamorphoses of a mythic creature in an aesthetic linked to the terrifying and the sublime.

San Miguel de Allende. There are few towns as unique as San Miguel de Allende. While the inhabitants of other communities have struggled to modernize their homes, in San Miguel they have joined forces to salvage and preserve the city’s architecture. On these pages, its light, color and harmony are revealed in poetry and prose.

Zacatecas. The beauty of Zacatecas is unlike that of any other Mexican city: carved stone above ground, and a network of mining tunnels below. This issue discusses the history, architecture and legends of the mining town, and guides us through some of the exceptional museums of Zacatecas.

Textiles from Oaxaca. The hands of weavers from Oaxaca speak a coded language. They turn the landscape, myths, everyday life and poetry into extraordinarily beautiful designs. These textiles demonstrate that artisans’ hands are able to create pieces that are visually intoxicating

Spaces in Mexican Cuisine. The memories of women govern the spaces of Mexican cuisine, where cooking methods and family wisdom are handed down from generation to generation. These culinary spaces are a unique window on our culture. The articles that appear in this issue invite us to explore this highly interesting and personal territory.

Viceregal Serpent. The second installment in our series on snakes, this issue is filled with images of serpents fighting the Virgin, and our nightmares are inhabited by hellish missionaries: infernal snakes that torture sinners. Horror and beauty exist side-by-side within these creatures that play a natural part in our culture.

Basketry. Basketry is both functional and aesthetically pleasing in its forms, colors, textures and flexibility, but this is also due to our emotional reaction to baskets and the symbolism that surrounds them. Each of these pieces appears to be woven from fragments of the artisan’s soul, to paraphrase writer Bruno Traven.

France-Mexico: Shared Images. Mexico’s European roots are not only found in Spain. France has also played a decisive role in the organization of our institutions, in our sense of belonging, our sensibilities and tastes. How has this country influenced our process of nation-building? And across the ocean, what is France’s perception of Mexico?

Puebla. The city of Puebla was conceived by two classes of beings: human and angelic, both of whom were seeking perfection. Each church, convent, library or building contains a world of stories. This issue deals with the architecture, painting tradition, history and atmosphere of a colonial city you will want to visit time and again.

Guadalajara. With its blue sky and body of stone, Guadalajara has been a destination for explorers, the source of national symbols and a breeding ground for artists and writers. In this issue, the most beautiful buildings of the capital of Jalisco open their doors to us, and we learn about some of the most intense episodes in the city’s history.

Folk Art: The Ruth D. Lechuga Museum. Ruth D. Lechuga devoted her life to studying the country’s essence in the form of its folk art. She spent more than fifty years exploring Mexico, collecting objects and documenting popular customs and rites, in order to bequeath us this splendid collection. These pages offer a glimpse of the collection and reassess our definition of crafts.

Mexico-France: Mutual Fascination. We continue our exploration of France’s power of seduction over Mexicans and that of Mexico over the French. A profound reflection as to the points of contact between the two cultures, allowing us to discover in the gaze of the Other the reasons why we do what we do and are the way we are.

Tinwork. Tin emerged in the shadow of its more distinguished relative, silver. Almost every object made out of this precious metal also had a humbler likeness in tin. The copies may not have stood the test of time as well as the originals, but they shone just as brightly. And those brief glimmers are preserved in this issue devoted to a noble and versatile material, still known as “poor man’s silver.”

The Ceramics of Mata Ortiz. The geometry of the ceramics made in Mata Ortiz, Chihuahua, represents one of the most interesting aesthetic phenomena in present-day Mexico: the rediscovery of a ceramic tradition. Inspired by pieces from ancient Paquimé, the inhabitants of Mata Ortiz explored unknown territory in pottery to take this ancient craft in new directions in terms of form and color

Campeche. Surrounded by its centuries old wall, the city of Campeche seems to be trapped in time and legend. But its restored architecture tells another story. This is an incredibly vibrant city whose spirit comes from its people, their cuisine, the unique appearance of their homes, their arts and crafts, and from how they have managed to turn every corner of the city into a point of cultural interest.

Flowers. Every picture of a flower is an attempt to stop time. From the floral symbolism of the pre-Hispanic world to scientists’ efforts in the eighteenth century to classify hundreds of American flowering plants, this issue offers a bird’s-eye view of the blossoming meadow of Mexican art.

The Postcard. Postcards came into being in an era when, for most people, the mail was the only source of information about “far-off lands.” Now they provide evidence of how our cities have changed over the years and of the emotional reactions of those who have visited them. These documents occupy an important place in our emotional memory.

The Tehuana. Compared to ocean waves or gardens, the women of the Isthmus of Tehuantepec are naturally hypnotizing: their poise, costumes, community rituals and daily lives allude to a unique context and a time that is all their own. This issue shows us how the myth of the Tehuana is constantly being renewed in their vibrant customs.

Charreria. For decades, the charro was the undisputed symbol of Mexican identity. Here, one of our most fascinating national figures is revealed in plates ranging from nineteenth-century pastoral scenes to works of contemporary folk art.

Maguey. The maguey—silent witness to Mexico’s transformations—holds the key to its own cultivation, the use of each of its parts, and how and where it is consumed. These pages reveal the secrets of this paradigmatic plant, its distillation and its presence in the arts.

Silver Sculpture. Long ago, Mexico was Europe’s prime source of silver; today the country lays claim to a sculptural tradition that does justice to this precious metal’s history. This is exemplified by the pieces that artists such as Mérida, Soriano, Toledo and Cuevas have made at Tane Orfebres’ silversmithing workshops.

Ex-Votos. Miracles exist, as confirmed by Mexico’s rich tradition of ex-votos. With this look at their different forms, we get a clear sense of the popularity of certain saints as intercessors in earthly affairs.

Mudejar Art I: Explorations. The construction boom of the sixteenth century left the imprint of Mudejar art on New Spain. With it, colonists preserved the essence of the Moslem culture that had governed Spain for eight centuries.

Mudejar Art II: Variations. The continuation of our exploration of Mexico’s Islamic-Mudejar heritage, whose influence is felt in literature, festivals and more than a few architectural spaces.

Snakes: Folk Representations. The third installment of a four-part series on serpents deals with the worldview of different indigenous cultures, their hopes and fears, history turned into myth, and myth as an everyday reality.

Colima. Stories of a garden watched over by a fiery volcano and the boundless sea; glimpses of a land where anything will grow; accounts of a culture continuously being reinvented.

Jesuit Colleges. Jesuit colleges in New Spain were devoted to the study of the humanities as well as scientific and technological research. Their academic achievements were enhanced by the order’s global presence, and led to the development of an art whose aesthetics aspired to universality.

Nopal. The prickly pear is a bleak, ritualistic, emblematic and paradoxical plant. The sap from its fleshy branches, the juice from its fruit and the sharpness of its thorns are signposts that guide us along the arid backroads of Mexican culture.

Zapopan. This district of Guadalajara is full of contrasts, embracing prosperous industrial zones as well as lush, green farmland, where erudition and religion live side by side.

José Luis Bello y González Museum. The pages of our magazine are transformed into a unique display case where pieces of exceptional beauty attest to the aesthetic that led to their creation and later, to collections such as this.

Day of the Dead: Ritual Serenity. The indigenous celebration of the Day of the Dead is neither mournful nor whimsical. Rather, participants display a serenity of spirit when sharing food with their ancestors and an exuberant creativity in the decoration of altars and cemeteries.

Mexico in Surrealism: Transitory Visitors. A historic and aesthetic survey of the presence in Mexico of two of Surrealism’s luminaries —Antonin Artaud and André Breton—and their encounters with our country’s creative and ritual ebullience.

Mexico in Surrealism: Creative Transfusion. An account of Surrealism’s second encounter with Mexico: the creativity of expatriates Leonora Carrington, Remedios Varo, Benjamin Péret, Alice Rahon, José and Kati Horna, Edward James and Luis Buñuel.

Jesuit Missions. The world would be a very different place if the West had not been driven by the idea that it had the divine mission of transforming the Earth. The protagonists of this enterprise included the Jesuit missionaries. This issue explores some of the geographical and intellectual territories that these men opened up for Western culture.

China Poblana. The history of the china poblana lies somewhere between Oriental legends and Mexican folk tales. Who is this woman that has captivated writers, artists and other members of the cultural scene?

Day of the Dead II: Skulls and Laughter. The Day of the Dead in Mexico City has become a celebration where sorrow, laughter, skulls and sugar exist side by side. How did this tradition become invested with such unique characteristics.

The Palafox Library. Like the legendary library of Alexandria, the founders and custodians of the Palafox Library have sought to collect all the knowledge of the universe under one roof. The nearly 42,000 volumes housed in this institution in the city of Puebla bear witness to that aspiration.

In Praise of the Mesoamerican Body. The way each society represents the human body tells us some unexpected things about its worldview. Woven into this vision of the body are discourses on medicine and morality, eroticism and death. What enigmas are contained in Mesoamerican works alluding to the body?

Jesuit Art and Spirituality I. Baroque forms were more than just the manifestation of an artistic tendency. They became signs in a global communication system with close ties to the Jesuits. How was this visual language transformed into a spiritual experience?

Snakes in Contemporary Art. We continue our exploration of a fascinating and frightening creature: the snake. This issue is an invitation to use contemporary art as a means of penetrating that dark space in the human soul where a strange venomous serpent lurks.

The Art of Cast Iron. The cast-iron bandstands, benches and lampposts found in most Mexican parks and squares are what lend these public spaces their unique personality. They are synonymous with tradition, urban beautification and city life. How did they come to form such an indispensable part of the country’s aesthetic?

The Two Volcanoes. The Valley of Mexico has been geographically and culturally defined by the ring of mountains surrounding it. The most important of them are the Popocatépetl and Iztaccíhuatl volcanoes, having figured in myth, folk ritual, art and poetry. What secrets do they conceal?

Gustavo Pérez: Contemporary Ceramics. Gustavo Pérez is one of Mexico’s leading contemporary ceramicists. The freedom with which this artist works clay has been an inspiration to critics and writers seeking to explore the inner world of a man who gave his soul to the material.

Huichol Art. The Huicholes or Wixaritari have captured the interest of art collectors with their beaded carvings and decorated gourds. However, there are other Huichol works that require a vital spiritual commitment, because the artist must undergo a personal and mystical quest to make them. What mysteries do these creations hold?

Jesuit Art and Spirituality II. The Society of Jesus exerted a profound impact on all artistic disciplines. This influence stemmed from the poetics that can be traced back to Ignatius of Loyola’s mystic experiences. In countries such as Mexico, the vitality of that aesthetic is still apparent in the creative expressions of traditional cultures.

Carnival Masks. The medieval tradition of Carnival is still very much alive in Mexico. Locos, diablos, maringuillas (who are often men dressed as women), charros, catrines and many other characters join in the celebration, which provides a space for transgressive experiences and a riotous visual display.

Rituals of Corn. According to the Popol Vuh, people are made of corn. This may explain why cultures in many parts of Mexico observe a ritual cycle tied to the planting and harvesting of this grain. This issue explores some of the little-known facets of this tradition in our country.

Myths of Corn. Corn seems to germinate in the hearts of Mexicans. Countless myths revolve around this plant, lending a certain unity to this country’s diverse cultures. This issue provides a glimpse of Mexicans’ unlimited ingenuity when it comes to this generous plant.

Carl Nebel: Nineteenth-Century Itinerant Painter. The work of nineteenth-century itinerant painters can teach us about many aspects of Mexico during that era: archeological discoveries, daily life, landscapes… One man’s vision stands out among those of the many travelers who were fascinated by this land: Carl Nebel, a German illustrator whose talent was recognized by Alexander von Humboldt himself.

The Traditional Art of the Nativity Scene. Made of wood, pottery, flowers, basketry, glass, wax or tinplate, Mexican nativity scenes attest to the creativity of Mexican artisans and of those individuals who set up crèches in their homes every year. This publication reveals some of the facets of this tradition in our country, in which we can discover diversity, harmony and beauty.

Jesuits and Science: The Limits of Reason. The Jesuits’ legacy is an adventure in human knowledge unlike any other. Among the members of this order, there were pioneers who ventured into unexplored lands and disciplines who attempted to conjugate trust in the methodology of knowledge and an awareness of the limits of reason.

Circus I: Art and Poetry. The circus is a privileged space for art because it seems to be anchored in fantasy and dreams. It is the arena where our most hidden desires come true: people can fly, walk through fire, disappear into thin air. And it has been an object of fascination for the Mexican writers and painters who have contributed to this issue.

Circus II: Legend and Color. Every circus act extends the apparent limits of the human body and of what is possible in order to become a colorful legend, visually, spiritually and symbolically. These pages show us how the heroic act ceases to be simple entertainment and becomes the circus.

Ancient Cora and Huichol Art. A tribute to the German anthropologist and pioneer of Mexican ethnology, Konrad Theodor Preuss. During his travels, he documented vast numbers of songs, prayers, compositions and dances from Cora, Huichol and Mexicanero rituals, and amassed a collection of 2,300 craft pieces, which are being shown to the Mexican public for the first time in this issue.

A Vision of Mining. The mining industry has never ceased to produce economic benefits that have translated into deep-rooted symbols of Mexican identity: from sculpture in silver to the architecture of mining cities, as well as viceregal altarpieces, work in estofado and even tinwork. This issue is a descent into the galleries where the richest veins of the country may be found.

Ceramics from Tlaquepaque. From 1920 to the 1950s, the glazed earthenware of Tlaquepaque underwent a revival thanks in part to the presence of artists like Roberto Montenegro, Doctor Atl and Adolfo Best Maugard. The ceramicists of Tlaquepaque invented a decorative style that reaffirmed their past while becoming a precursor to the movement to re-evaluate folk art.

Teotihuacan Ceramics. Pre-Hispanic art is often enigmatic, and Teotihuacan ceramics are no exception. This issue celebrates the mastery of the Teotihuacan potters, uncovers links with local contemporary artisans, and presents us with new reasons why this ancient metropolis is known as “The Place Where Gods Are Created”.

Manuel Parra: Architect. Manuel Parra was one of the greatest Mexican architects of the twentieth century. His work was unique in that he recycled pieces from demolished houses, lending them new meaning in contemporary spaces with an unmistakably Mexican flavor. These pages offer an intimate perspective on this notable artist.

Rebozo. The path traced by the weft and warp united by the weaver’s rhythmic movements, the intertwining of threads by the women who make the fringe and the meaning instilled in this garment when combined with the wearer’s personality… these are just a few of the moments in a rebozo’s life, the fabric of a national symbol.

National Museum of San Carlos. This issue offers a guided tour of the permanent collection of one of Mexico’s most important museums: its origin, the story of its multiple changes of location, the most important pieces it houses and the inclusion of innovative artistic approaches in its galleries.

The Jesuits and Enlightened Despotism. This issue focuses on a series of events in our past that have continued to have echoes in the present: the expulsion of the Jesuits and the suppression of their order. An exhaustive examination of a painful moment in history and a bleak vision of these men’s legacy which ended in destruction.

In Praise of Flies in Art. What is that black mote soiling the pages of this issue? A fly. There is another one on the next page, and more on the subsequent ones. It seems that flies are not only attracted to rubbish: some actually love sixteenth-century paintings as well, while others enjoy being turned into a political cartoonist’s drawing or into a poet’s verses…

Mexico City’s Stained-Glass Windows. This issue’s pages are filled with light. Browsing it, readers will be overcome by a luminous feeling of serenity and joy. They will see that the sun setting behind these translucent paintings is like an artist breathing life into stories, into geometric shapes and floral patterns, and they will be mesmerized by these magical settings made tangible by the power of light.

Sign Painting: The ‘Other’ Muralism. Mexican cityscapes feature ingenious drawings whose aim is to sell products, advertise their benefits or quite simply embellish storefronts. Though anonymous, many of these signs display great artistic skill. The signage forms part of an aesthetic phenomenon that is examined here for the first time from an artistic perspective.

The Aztecs-Mexica and Death: A Rebirth of Gods and Men. Mexica representations of death can take our breath away by facing us with the aesthetic aspects of something that is beyond our comprehension. What became of humans after death? And when people died, what determined where their souls went? A disturbing issue that deals with our concerns about the mystery of existence.

Music from the Independence to the Revolution. With this issue, Artes de México renders homage to Mexico through one of its cultural treasures: music. Herein, readers will discover the melodies that defined an unforgettable period in the nation’s history. The issue includes a cd featuring some of these compositions performed by the pianist Silvia Navarrete.

The Traditional Art of Mezcal. This issue of Artes de México undertakes a journey through the rural landscape of mezcal producing regions, exploring their geography, history, traditions and day-to-day life. Its pages also present the vision of visual artists who have been seduced by this liquor.

Art and Climate Change. Climate change is an issue that involves every one of us. This issue of Artes de México analyzes mankind’s relationship with the Earth, providing an account of the changes in the planet’s make-up and aesthetic through the eyes of scientists, writers and artists.

The Other Faces of Mexico. Ruth D. Lechuga —photographer and collector of folk art—used her camera to capture images of a Mexico seldom visible to most of us. Now we can view her collection and discover the country with a sense of curiosity, respect and amazement. Artes de México was bequeathed this compilation of photographs, and we proudly celebrate our 100th issue with our first taste of this visual feast.

Promised Places. Gabriel Figueroa Flores uses his camera to discover “promised places” that form part of an imaginary cartography, which Alberto Ruy Sánchez has interpreted in words. This book depicts a reality that acquires its meaning through the reader’s eyes.

Being and Nothingness. In this volume, we witness a fascinating dialogue on being and nothingness. It is a reflection of the photographer’s ongoing search for balance. Only his camera’s shutter—by opening and closing before his subject—can provide him with answers.

Loose Leaves. This book is the product of two great passions: photography and nature. In it, we see the photographer’s ongoing dialogue with light and darkness. On the slopes of the Cofre de Perote Volcano, the forest appears to be inhabited by a world of chiaroscuros where one may have to wait hours or days to capture an image.

Urban Sea. The sea is an imposing thing, but what happens when it is surrounded by asphalt? With a combination of humor, inquisitiveness and extravagance, Urban Sea explores city settings with close ties to the ocean.

The Eroticized Forest. In The Eroticized Forest, bark is transformed into skin. But there are only a few people, like Alicia Ahumada, who are capable of seeing that. On these pages, she takes a trip into the Forest of Eros while her camera reveals new facets of nature—suggestive forms that uncover the hidden eroticism of plants.

Earth and Sky. This book shows us the many facets of a country: nature, religion and everyday life. Jorge Vértiz’s photographs of India depict a land of a thousand colors, people, scenes and visions that exist amid a spirituality and the turmoil of a life whose extremes are always tangible.

Field of Pain. The sick and the devout gather at the sanctuary of El niño Fidencio to witness the miraculous healings that certain spirits effect through the bodies of their intermediaries. Pilgrimages to this remote part of Mexico, the faces of their participants exhausted from their journey, and their expressions of fervor are the subjects captured by the photographer’s gaze.

Present in Body. When photography penetrates the dark side of human nature, it forces us to peer into our own darkness. Murder, cruelty, violence, death… all these elements combine on these pages that provide a glimpse into our inner territory, which we would sometimes rather not explore.

The Color of Time. From the time we are small children, we are fascinated by the phenomenon of color: we play with it, we devour it eagerly, we contemplate it in wonder. Colors appear even when we are surrounded by the dark, because they exist within us. This book shows us how photography allows us to carry on a silent conversation with these things, which gladly become prisoners of our own pleasure.

Mexico City’s Historic Downtown. In the heart of Mexico City, different periods of history coexist. The cathedral and the government palace stand alongside vestiges of ancient Mexico and contemporary structures. The “City of Palaces” is depicted from multiple viewpoints: a city rediscovered, imagined and remembered.

Rituals. Rituals function in the same way that photography does: they bear witness to those moments when we are someone else, in the time of myth. They are timeless. These pages are an invitation to observe the space of ritual and myth. As such, they situate us in that interval between events and their context.

Calligraphic Labyrinths. Maritza López discovers a new way of seeing the Middle East: streets, vehicles, market stands, bodies covered in fabric and walls covered in graffiti reveal the astounding similarities between East and West, and invite us to break through the boundaries we have built between them. An essay by Naief Yehya presents a historic view of the relationship between East and West.

Establishments. This book by Gala Narezo depicts intimate spaces filled with personal relics and experiences: the sets of a tiny theater that show us the human value of things that might at first appear insignificant. In these photographs, Elena Poniatowska finds the hidden treasures of a collection of commercial establishments around Mexico City’s Roma neighborhood.

Every Angel is Frightening confronts readers with the absolute silence of the dead. In this book, photographer José Antonio Martínez concludes that death is the central object of human expression, and through disturbing images reveals the beauty that can exist in a lifeless body. Ethel Krauze’s short story is moving in its apparent simplicity.

What the Sea Left Me. More than a photographic essay, this title is an exercise in exploration that intermingles illusion with reality. Lourdes Almeida shows us women that seem to blend into the sea, while others gaze at it with nostalgia. The book also features an essay by Sealtiel Alatriste that focuses on a topic rarely dealt with in his work: illusion.

Stories in Skin. Humans etch lasting messages on their skin in a ritual that combines pleasure with pain. In this book, Federico Gama focuses his camera lens on these living texts and recounts the stories that inhabit these ageless skins. Élmer Mendoza vividly describes the highlights and shades of these images and teaches us a new way of looking at the Other through this prism of contrasts.

Realities and Desires reflects a world that is sometimes painful, where individuals can be stigmatized or even persecuted for being born in the wrong body: men who feel like women, people who inhabit and construct novel corporeal geographies. Susana Casarin’s portraits’ underlying humanity remains clearly visible. In his essay, Arnoldo Kraus expands on the metaphor of the body as a home, as a sanctuary or as a place of self-destruction.

The Incredible World. Readers will catch glimpses of the everyday life of a family of dwarves who work as bullfighters and circus performers. In this world, Dominic Simmons depicts intimacy and public spectacle on a unique scale, where it becomes hard to measure the size of things and where reality blends with dreams. His pictures capture a unique mixture of the everyday and the outlandish while Mario Bellatín’s text translates their peculiar atmosphere and emotion into words.

Silence Belongs to Us. Women occupy a world that constantly attempts to decipher them. Here, Francisco Kochen assumes the identity of a vagabond who wanders through different countries seeking to capture the indefinable qualities of women, and Lydia Cacho puts into words the experiences of these individuals whom she calls “the bearers of the light of the ages.”

Luminous Silence. A series of personal experiences of eroticism and pain led Yamina del Real to create this photo essay about luminous silence, which is put into song by the narrator and poet Sandra Lorenzano. This book invites the reader to reconsider the female body as a bet that nobody wins, something desired and denied, something unknown and yet described.

Urban Archaeology. The story of a city’s greatness may be written in its forgotten corners. In this volume, Ernesto Ramírez invites us to discover the aesthetics of abandonment in any setting where things seem to have been piled up haphazardly, when in fact they are joined by the invisible threads of stories we’ve never heard. The images are complemented by Fabricio Mejía Madrid’s literary adventure that invites us to discover the everyday beauty of these eloquent places.

Space Becomes a Stage. Aurelio Asiain opens a door onto a private, intimate Japan. In twenty-eight scenes, he leads us along the paths of poetry, everyday aesthetics, a loving dialogue between humanity and nature, and a fascination for a country where the experience of sacredness is not at odds with good humor, where calligraphers hold funerals for their writing instruments, and where poets are the true cultural heroes.

Diary of the Sea. Merodio lives on the coast of Tuscany. He repairs hourglasses for a living, is of an indeterminate age that varies with his movements, and knows that time is not measured but contemplated. Nicola Lorusso took dozens of photographs trying to capture a single image of him, to no avail. However he did manage to capture many instants in the effervescent life that distinguishes the Italian coast.

Forbidden City. Beijing possesses an ambiguous yet undeniable beauty quite removed from the stereotypes seen in travelogues. It is a highly expressive metropolis, one that confronts us with certain naked truths: it refuses to be seen through the lens of exoticism, and rejects the nightmarish myths surrounding it. Rather, as writer Edgardo Bermejo states, it is a blind dragon sailing through the world’s skies at prodigious speed.

Following Footsteps. Antonio Zirión invites us to look down paths, hallways, arcades and many other places where we are likely to run into the “other.” With a knowing wink, in an uninhibited tone, Verónica Gerber presents the journal of a podiatrist who knows how to examine feet as the body’s support as well as the steps they take, the prints they leave behind.

Seven Diopters. In these pages, Nirvana Paz leads us through the reflections and glare that one perceives when one is very myopic. Bernard Plossu and Nuria Gómez Benet accompany her on this journey with prose and poetry, and help us feel the synesthetic pleasure of this way of looking.

Oracle. This is a journey told in sixty-four photographs taken by Silvia Andrade during her walks through the Roger Orellana Botanical Garden in Mérida, accompanied by a poem written by Arturo González Cosío in 1999. Based on the hexagrams of the I Ching, these words and images show us how this ancient manuscript metamorphoses every time an artist looks at it.

Bedrooms with a View. This book portrays a series of bedrooms of very distinct individuals living in various places across Mexico. We only know their names and what they do: some are nurses, yoga instructors, translators and rural school teachers. Guided by Eric Scibor-Rylski and José Luis Trueba Lara, we are able to catch a glimpse of a moment in time in the private lives of others.

The Terrestrial Environment. Nature's innate power and the bonds that humans establish with their natural surroundings are this book's two overlapping leitmotifs. Ilán Rabchinskey uses Mexico City's Natural History Museum as his setting, making photographic portraits of the stuffed animals and the dioramas representing their natural contexts. Mario Bellatin's fiction provides a space for us to reconnect with nature.

Other Invisible Cities. Lorena Campbell’s camera and Óscar de la Borbolla’s pen transform cities into perfectly designed sets. The moments captured in the photographs are records of unusual, astonishing worlds. In parallel, Italo Calvino’s novel establishes a dialogue with these pictures and shows us that day-to-day life is far from ordinary, never failing to surprise us.

Lifting the Silence. This “artivist” bookwork is about animal rights, with photographs by Elideth Fernández and a critical essay by Francesca Gargallo. What right do we have to decide the fate of other creatures? What does our concept of freedom really entail when we mistreat other living beings? Fernández asks these questions in each one of her photographs and confronts us with a reality that is seldom challenged. In this book, the author and the artist establish a thoughtful dialogue showing their committed advocacy of those that do not have a voice of their own.

Mexican Riddles. Riddles are games that reveal the many twists and turns of language. This collection from Oapan, Guerrero, inclues surprising definitions for mermaids, corn fields, eggs...

City of Books. The book collections of Antonio Castro Leal, José Luis Martínez, Alí Chumacero, Jaime García Terrés and Carlos Monsiváis are the five great pillars of the “City of Books,” a library of libraries, an unrivalled space in Mexico City.

Nahua Riddles from Yesterday, Today and Always. This book is a collection of riddles that Bernardino de Sahagún heard when he first came to New Spain, with the addition if several contemporary ones.

Guess This, Yucatecan Mayan Children’s Riddles. Among the Mayas, riddles are a common pastime among adults and young people, and have a ritual quality to them: it is customary to say riddles at wakes and agricultural ceremonies. In English, Maya, Tzotzil, Spanish and French.

Bemberecua. All was peaceful in the village of Tlacotalpan until Bemberecua the iguana decided that what he liked most in the world was to dance the son.

Before There Were Dreams. How did human beings begin to dream? In fact, it’s a long story involving a monstrous black butterfly, jungle animals and a quick-witted shaman who knows all the best spells.

At the Water’s Edge and Other Poems from Latin America. From folk songs to the voices of renowned poets such as Octavio Paz, Gabriela Mistral and Miguel Ángel Asturias: an anthology dedicated to all those who have an adventurous spirit and a strong desire to make the world a better place.

My Body and I. We come into the world. We are faced with countless flavors, sounds and images. Then one day we realize, “I’m different from my body,” and we begin to notice those differences more and more. Just when we think the distance separating us from our bodies is impassable, a bridge appears leading us back to it.

The Buzzard and the Flute. Where do people go when they die? The Huichols say they go to a world where everything is backwards. Now that Concha’s grandfather has died, he must have gone there, but he forgot to take his traditional flute called a chirimía. Concha decides to take it to him and discovers that the dead don’t have it so bad after all.

The Mystery of the Serpent’s Mask. Two archeologists have mysteriously disappeared in the Mayan region, and nobody seems to know where they are. But their children, two students at the Cirque du Soleil school, have decided to find them by deciphering the enigmas contained in some ancient stones. Will they succeed?

On the Hill. On the hill there lives a boy who loves his white house with the red roof. He doesn’t need to go anywhere else. His house is a safe place for all his adventures. Until one morning he sees some kids ride by on their bikes. That night he can’t sleep from thinking about what he has seen, and suddenly he is overcome by an unexpected desire…

Half the Sky. Alberto Blanco’s poetry enjoys a magical relationship with Felipe Morales’s illustrations for this volume. This concert, in which we hear the voices of mermaids, harlequins, horses and other beings, commemorates the fiftieth anniversary of the Grañén Porrúa Bookstore in Oaxaca.

How Monsters Dance. My dad was a strange man: instead of going to the office like all my friends’ fathers, his job was to go to parties and dance with monsters. At first this idea scared me, but then I discovered that monsters could also be my friends.

Poetic Zoology. This anthology contains the voices of Latin American poets who have a deep understanding of animals. Some of these poems are as sweet as birdsong, but others roar fiercely at the slightest provocation.

How the Piñata Was Born. The first piñata ever broken looked a lot like the Star of Bethlehem. Why was it shaped like that? Who had the idea of making a star full of gifts? On these pages, you will discover the legendary origin of an important Mexican tradition.

Doodle Book. Doodling is fun, but it also helps us to understand art and to see the world in new ways. Now it’s your turn to take a fun look at doodles and play with them, too.

Huevos Rancheros. This book narrates Marcelina the Hen’s escapades as she seeks to outsmart her enemies. To do so, our heroine makes use of all her natural charms and especially her cooking skills.

The Economy: What Is Money? A guide that leads children on a wonderful adventure through economic concepts. In this book, children will learn how to manage their money, discover the secrets of finance, and explore the fascinating world of banking.

Eye Play: Let’s Discover Art. Art is a game that can give us an entertaining new view of the world. This book shows us some of the different ways it can be played. But you can come up with many more

My Monster Mandarin. Andrea’s only friend was a monster named Mandarin Bananas. He went everywhere with her, but no one else could see him. The day that Andrea learned she could play with other little girls, Mandarin had to make a fateful decision.

Mexican Painters from A to Z. There are many amusing ways to look at a painting. In this alphabetical gallery, children will embark on an entertaining tour of some of the most important Mexican artworks of the twentieth century. You will see this is an amazing world where you will want to play.

Bills in the Wind. Once I lost a bill. So I decided to make another identical one by myself: then my mom wouldn’t be mad at me. After all, copying bills seemed so easy.

Watch, Imagine… Dare to find your own way to look at things, through art.

Beowulf. Written in the eighth century, the story of Beowulf is the oldest epic tale in Anglo-Saxon literature. According to Jorge Luis Borges, it is “the fable of a man who finally achieves his destiny, and that of a recurring battle.”

Jacinto Pérez: Hunter of Images of the Mexican Revolution. Jacinto and his mule, Micaela, are hired for a dangerous mission: to escort some men who are trying to film Pancho Villa. They were hunters of images attempting to bring scenes of the Mexican Revolution and its fascinating leader back to their own country. Along the way, a little known face of the revolutionary general is revealed, frame by frame: that of Pancho Villa, movie star.

Mixtec Dreams. Among indigenous communities in Mexico, dreams are of great importance since they contain secret, coded messages that can change our fate. Here we find certain keys to untangle these mysteries, which the Mixtecs (or Ñuu Savi) have handed down from one generation to the next.

The Game of Ancient Stones. Ancient Mexicans had a very peculiar way of seeing the world… but what happens when we look at the art they made and realize that we are not as different from them as we thought? This book takes us on a tour of Mexico City’s National Museum of Anthropology to discover some of our ancestors’ fascinating secrets.

Reject Rejection. One day a flower named Flor felt rejected for being different. This made her very angry, until she found out that every flower is indeed different, and that is what makes them beautiful as they fill the world with color.

The Secret of the Jungle. A lacandon legend. Seated before a fire with the roars of the jaguar echoing through the bush, the ancient guardian of the jungle’s mysteries is about to reveal its best-kept secret to a group of young adventurers.

With Your Eyes Closed: Indigenous Children’s Dreams. Mexico is home to over fifty indigenous groups. They all wear different traditional clothing, have widely distinct customs, and speak completely unrelated languages. However, children from all these groups do have something in common: they all enjoy hearing the stories that their grandparents tell them, and sometimes even dream about them.

Hñähñu Riddles. From the north of Guanajuato to the southeast of Tlaxcala, Otomi children love riddles. Their language has regional variations, but each has riddles to solve. This book reproduces some of them, translated into five different variants of this musical tongue.

The Dream of the Gods and Other Huichol Tales. All these stories are set in a time when the world was new—so new that memories did not yet exist and things were still unnamed, when stars wandered freely across the heavens and when flowers first heard of spring. Huichol shaman José Benítez Sánchez tells us these stories in his string paintings, which Gabriela Olmos translates into words so we can all take part in these adventures.

Rhyming Calaveras. Mexico’s conception of death is an atypical one, and so are the traditions that coalesce around it. Literary calaveras are popular rhymes that are part of the folklore related to the celebration of the Day of the Dead. These poems about death are descriptions of the Grim Reaper’s wanderings through the world of men, and use irony to point out the qualities and defects of our friend the “pale rider.”

Possessed Animals of the Hñähñus. The Mezquital Valley is home to squirrels, bats, hummingbirds and white-footed doves, living with organ pipe cacti and garambullos, agaves from which pulque is made and white-flowered mesquite. Each of these animals has its own place in the hñähñu world, and Jesús Salinas Pedraza tells us their story.

I Had a Dream: A Song against Violence. In this day and age, when violence has turned the lives of many Mexican children into a nightmare, Artes de México asks them to use the best defense of all: their imaginations.

Elías’s Present. For his birthday, Elías received the most surprising and exciting gift: something that lets him travel to practically anywhere in the world.

The Boy and Death. Alfredo was quite familiar with the scary stories that were told in his community. But one day, after coming home from the park, something odd happened that made him reconsider everything he had ever imagined about Death. Readers will surely be amused by Alfredo’s tale as he tells his secret for the first time.

Everyone Is Different. “In this world, everyone is different, that’s the beauty of it,” my grandmother said when she figured out what kept me awake at night. From then on, I learned to see this as something that made me unique and that could even, in itself, be beautiful.

A Huipil for Death. One day, Lady Death was feeling lonely, and thought maybe she could make new friends if she had a pretty huipil. She was still feeling sorry for herself, crying, when she came upon a young Tzotzil girl who showed her how to weave. But the girl also taught her something far more important: in this world, we are never alone.

Xocolatl: The Mexican Xoloitzcuintle. In the gardens of the Dolores Olmedo Museum lives a happy family of xoloitzcuintles, those hairless dogs that are so distinctively Mexican. Xocolatl, who is just a pup and the friendliest of the pack, took on the challenge of raising the bar for her entire breed. This issue recounts her adventures and celebrates the unique beauty of these Mexican canines.

Landscape of Echoes. Octavio Paz wrote that the poem’s great mystery is that “it contains poetry as long as it doesn’t hold onto it; it’s meant to spill the poetry, spread it around.” One way of doing this is to translate it into as many languages as possible: to create echoes of the poet’s voice so his song is renewed and finds new readers.

Landscape of Echoes. Octavio Paz wrote that the poem’s great mystery is that “it contains poetry as long as it doesn’t hold onto it; it’s meant to spill the poetry, spread it around.” One way of doing this is to translate it into as many languages as possible: to create echoes of the poet’s voice so his song is renewed and finds new readers.

Migrant. To undestand Ana’s story, you will have to pay attention to her context: the animals, the trees and the seasons will be the keys to understanding why her family migrates every so often, lives in peculiar places and speaks a language that isn’t like Spanish at all. Ana will show you the customs, daily habits, and beliefs of Mennonite communities in a territory where they appear to be foreigners, though they inevitably make this land their own.

My grandparents are not turtles. The world of grandparents is full of surprises. In this book the author combines poetry and prose to bring us closer, with respect and admiration, to this stage of the human being. Melinna Guerrero creates small texts that reconfigure the wrinkles of our grandparents, their bodies, the way they speak and their daily chores. To the place of grandparents, children travel.

Baron de Courcy: Illustrations from a Voyage. In the nineteenth century, this enigmatic French aristocrat traveled through the Americas, capturing the landscapes he observed in the drawings and watercolors that illustrate this book.

101 Adventures in Reading. A journey through the many surprises, joys and adventures contained in words. 101 aphorisms in which the authors share their experiences, feelings and opinions on reading.

Sidewalk Banquet. This artist’s book offers 280 photographs of the sidewalks of Paris, as taken from a collector’s exceptional point of view. A surprising demonstration of how the most profound aspects of a city are visible on its surface.

Five Keys to the Secret World of Remedios Varo. This book places in our hands the five keys that will unlock the treasure chest where the secrets of this painter’s magic world are kept: the esoteric key, the Surrealist key, the literary key, the key of dreams and the architectural key. It serves as a guide, allowing us to decipher the enigmas of a surprising artistic universe.

The Unfinished Dream of Émile Bénard and his Legislative Palace, Today Monument to the Revolution. A hundred years ago in Mexico City, construction began on a building that was meant to be the seat of the federal legislature. The project’s designer, Émile Bénard, never saw his dream come true. This book allows us a glimpse of the Legislative Palace as it was planned. It also invites us to look at the vestiges of this dream from the early twentieth century in the current Monument to the Revolution.

Folk Treasures of Mexico: The Nelson A. Rockefeller Collection. One of the main advocates of the rebirth of Mexican folk art in the first half of the twentieth century was Nelson A. Rockefeller, whose passion for our country led him to create one of the most important collections of Mexican crafts in existence abroad. This book provides an overview of his exceptional collection.

Locuralocúralocura. In his marathon journey through doctors’ offices and clinics that included the best and the worst of standard Western medicine, Pedro Tzontémoc has variously met with frustration, anger, hilarity, consolation and help. A book in which suffering is captured like fine gold dust among the pages.

Fantastic Zoology. There are certain creatures like the dragon that, as Borges says, “arise in many latitudes and ages” because they are “necessary monsters.” These and other fantastic beings growl, howl or whine in fear on the pages of this book, which demonstrates that “the zoology of dreams is far poorer than the zoology of the Maker.”

Diego Rivera: Retracing the Myth. One of the most illustrious native sons of Guanajuato is Diego Rivera. Though he only lived in this city for a short time during his childhood, there are parts of it that unavoidably seep into his paintings. This volume also details certain historic events, like the dawn of Independence, which were immortalized in Rivera’s works, especially in his murals.

100 Years of Graphic Design in Mexico (1900-2000). Graphic design in Mexico has incorporated countless tendencies and styles over the years—everything from the prints of José Guadalupe Posada to recent multimedia experiments. This book provides a survey of the most significant events and publications in the history of Mexican design.

Books Painted on Walls: The Murals of Mexico City. By far Mexico’s most emblematic artistic movement, Muralism emerged at a critical moment in the development of Mexican nationalism. It was José Vasconcelos who laid the foundations for it, followed by Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco, who lent shape to our concept of the nation. This is an invitation to revisit these murals and to revel in their beauty.

International Museum of the Baroque. Setting the Stage: Museology & Museography. This book takes a look inside the International Museum of the Baroque (MIB) in Puebla. Few people know about the work undertaken by museologists and museographers, who put into action the latest exhibition design strategies. For the MIB project, experts composed thematic and descriptive texts, designed furniture, located artworks and objects for its galleries and sketched over 3000 museographic plans, skillfully setting the stage for Mexico’s first international baroque museum.

Walls and Myths: Mexico City Murals. Our third book on Mexico City murals focuses on the transition between the great Muralists—such as Diego Rivera and David Alfaro Siqueiros—and the later schools of art, which sought to integrate mural paintings into the design process of buildings, and whose notable representatives include artist Mathias Goeritz and architect Mario Pani.

José Chávez Morado found the means to express himself through drawing, printmaking and easel and mural painting. Throughout his life, he maintained a constant dialogue with these forms of art. He was also a cultural administrator, collector, promoter and gallerist, as well as a teacher and political activist. This book delves into the life and work of this artist from Guanajuato and reveals his visual ingenuity, marked by a critical perspective on the political, social and cultural reality of Mexico.

400 Years of Cervantes in Mexico. Cervantes’s work is a point of convergence for two extremes: the history of the Iberian Peninsula and that of Spanish America are associated with the figure of the man and the character he invented. In this book, the dream of a language comes to life. From different points of view, the writers featured reexamine the tradition issuing from Cervantes, reminding us that for the past 400 years, Mexico has, in a sense, formed part of the historical region of La Mancha.

Juan Nepomuceno Herrera: The Scope of Portrait Painting. Juan Nepomuceno Herrera is a name bound to the history of Mexican art since he is considered one of the leading painters of the nineteenth century. This book explores his masterfully executed religious paintings and his extraordinary work as a portrait artist. The texts featured herein revisit Herrera’s formative years and examine the aesthetic influence of his work as one of the most prominent painters of his time.

Giantesses and Other Chimeras. Through the lens of his camera, Rafael Doníz portrays the gigantic figures of billboards alongside their smaller counterparts, members of the human race. With a good dose of humor and irony, the photographer, in this book, manages to capture the mundane lives of mythical creatures that continue to dwell among us on the walls and buildings of our streets. Giantesses and Other Chimeras is a compilation of 130 photographs taken between 1973 and 2017, the product of a life devoted to representing light in space and time. With his vision of a world where gigantic eyes are watching over us—a metaphor for society—the photographer demonstrates that we should pay more attention to the stories unfolding around us.

Several years after Jill Magid’s work dedicated to the figure and work of architect Luis Barragán, The Barragán Archives, was presented in Mexico, and the multiple reactions it sparked from the transformation of Luis Barragán into a diamond, the book 525 grams. Jill Magid and the Transformation of Barragán attempts to provide answers to several questions surrounding this controversial phenomenon: How did Jill Magid manage, execute, and finance the transformation of Luis Barragán into an engagement ring? What importance and impact do media reactions have on understanding Jill Magid’s project? Do the Barragán Archives constitute a tribute to the life and work of the Mexican architect?

Circular Vision: U.S. Cinema and the Mexican Revolution (1911–1917). The reality of the Mexican Revolution was transfigured when it became the subject of Hollywood movies. This book reveals various facets of wartime Mexico, and shows how the origins of the “star system” lie south of the U.S. border. The American movie industry came full circle by portraying its own society in confrontation with the Other.

Maya Society under Colonial Rule. This book by Nancy Farriss reveals how indigenous people managed to survive and adjust to the new conditions of life imposed by the Spaniards over 300 years of domination. It analyzes the creative ways in which indigenous culture adapted to the Hispanic world, and it allows us to understand dimensions of Maya life today that are not so self-evident. This is a new Spanish translation of the classic history text originally written in English.

Lectura: Designing a New Typography. Typography is a complex art that blends expressive qualities with historical processes. This book examines these fascinating worlds and tells the story of the creative process of developing a special typography for Artes de México.

The Life of Images: Huichol Art. Huichol art and crafts are always vibrant. This volume draws on anthropology and aesthetics to provide us with the keys we need to decipher Huichol gourd bowls, arrows, sculptures, masks, yarn paintings and some of the other fascinating expressions of this culture.

A Patriotic Pantheon: Skeletons of Independence. The dead of night has been roused from its slumber. The heroes of Mexico’s War of Independence have come out of their graves to sing. Do you want to hear what they have to say? Just listen a little closer.

Popol Vuh. The fundamental book on Mayan cosmology and history, in a version written for young readers by Guatemalan anthropologist Víctor Montejo. The K’iche’ myths of origin are illustrated by Nicaraguan artist Luis Garay.

Juan José Arreola: Public Library of Jalisco. This edition of Artes de México magazine documents the importance of the Public Library of the State of Jalisco "Juan José Arreola", created by decree of Governor Pedro Ogazón on July 24, 1861. In its pages we discuss the importance of its collections, the transcendence of its incunabula, periodicals and books that have made this library one of the most important in Mexico.

Popol Vuh. The fundamental book on Mayan cosmology and history, in a version written for young readers by Guatemalan anthropologist Víctor Montejo. The K’iche’ myths of origin are illustrated by Nicaraguan artist Luis Garay.

Mixtec Riddles. Children who speak Ñuu Savi, the language of the rain, also like to play with riddles. In this book you can discover some of the funniest riddles told by the people of the Mixteca region, and read their translations in six different languages: English, three dialects of Mixtec, Spanish and Catalan

Cartographies. Photographer Tatiana Parcero offers a reflection on the limitations of our bodies. By projecting images taken from maps, books and codices and using human skin as a canvas, she explores the relationship between what is human and what is produced by humanity. This book thus poses a question: Is man contained by the universe or is the universe contained by the human body?

Through the Glass. Yolanda Andrade is a photographer best known for her striking black-and-white images. Here, she explores the world of color and uncovers a hallucinatory reality. Her lens is a shard of glass through which we see a world that seems to exist somewhere between the real and the illusory. Elizabeth Ferrer’s essay guides us through a universe that is surprising in its simplicity and brilliance.

The Dawn of the Conquest: the Illustrated Story of the Florentine Codex. Between 155 and 1579, Bernardino de Sahagún and his indigenous collaborators wrote a historical account of the Spanish Conquest of Mexico in Nahuatl–book XII of the Florentine Codex–and translated into Spanish. The events are also described in a series of illustrations that have yet to be properly examined. In this publication, we revisit the indigenous perspective of the Conquest in relation to other prophecies of the Spanish invasion.

Francisco Xavier Clavigero formed part of a generation of Jesuites from New Spain who reconciled the experiences of their religious calling with the philosophical and scientific ideas of the Enlightenment. In this book, Arturo Reynoso describes in lucid detail of the ways in which this Jesuit from Veracruz dealt with the complex relationship between faith, religious discourse, science and history.

An Eclipse of Seven Moons: Women Muralists in Mexico. We owe a historical debt to female mural painters in Mexico. If documented at all, their involvement in one of the country’s most important cultural movements is most often presented as secondary. This book reconstructs and reclaims the art practice of women who took part in and reshaped this cultural phenomenon. Each of these women’s bodies of work opens up new perspectives on the history of Muralism in Mexico.

Mexico in Images. From an original and critical perspective, Mraz examines images created since the American invasion until the decisive representations of the present day. Through lithographs, daguerreotypes, calling cards, photographs, films, illustrated magazines, comic books and photo- reportage, this book recounts the process of formation of our national identity based on images.

Water from the Thickets: Tequila and Mezcal. Water from the Thickets describes both traditional know-how and the latest developments in the field. The book is situated at the crossroads of history and biology, craftsmanship and industrial experience, providing a clear and up-to-date perspective on these two emblematic beverages in a celebration of both savor and savoir-faire.

Mathias Goeritz: Echoes and Labyrinths. The echo and the labyrinth were two fundamental components of Mathias Goeritz’s aesthetic project. Here we have the keys that allow us to enter the extraordinary settings this artist created —daring projects in their time that continue to be topical today. This volume is indispensible to readers who wish to understand the thinking and important cultural legacy of an artist who influenced the metamorphosis of Mexican art in the twentieth century.

Libana: Mesoamerican Ceremonial Discourse and the Christian Sermon. Known in Zapotec as libana, the language of Mesoamerican ritual had the power to transcend the everyday and situate itself in the realm of the sacred —worshipful words uttered to appeal to the gods. The encounter between this ceremonial style and the sermons of Christian priests who arrived after the Spanish conquest is the crux of Nancy Farriss’s exhaustive study.

The Hidden Side of Folds: Indigenous Anthropology. The Maya conception of the nature of human beings provides startling perspectives on the meaning of life, death, disease, pain and pleasure. The essays contained in this volume were written following a study of the Tzeltals of Los Altos, Chiapas, and attempt to reexamine indigenous Mesoamerican cultures.

A Carnal Platter: Fruit and Eroticism in Cuba. With fruit, we celebrate the body and sensuality, and enter into a poetic garden of Eden. In this daring book, Cuban poet Orlando González Esteva entertains himself and his readers with this graceful and imaginative Carnal Platter. He is joined by the renowned Cuban painter Ramón Alejandro, who has discovered in tropical fruit one of the strongest symbols of desire.

Rituals of Harmony: Festivals in Teotitlán del Valle. After marrying a Zapotec weaver, Mary Jane Gagnier de Mendoza has gradually adapted to the customs of her new town. But despite the time she has spent there, she is still intrigued by the community’s realities. In this book, the author invites us to accompany her in her exploration of the town’s lavish festivals, their dazzling displays of artistry and delicious food.

The City in Sketches: Zacatecas, 1920–1940. Eugenio del Hoyo elegantly re-creates the serene and withdrawn life of Zacatecas between 1920 and 1940—a time when this quiet city presented a changeless face. The isolation and poverty of Zacatecas during those years left it intact, to later be reinvented as the architectural jewel that it is today.

Herbarium: Mexican Plants of the Soul. Following an intense sensory experience with a traditional healer’s plants, photographer Patricia Lagarde became obsessed with those plants that are able to cure even the soul. In this book, she captures her passion, using a technique evocative of the ancient spirit of Mexican codices and medieval herbariums.

The Age of Paper. This book’s lucid and playful analysis inspires us to look at paper differently. These chapters help us appreciate paper, but question it as well. Valuing its lightness, the author also acknowledges the importance of its existence. The recent invention of mineral paper has undermined paper’s paradoxical nature, acting as the spark for the poet’s reflective imagination. In this celebration, we are accompanied by renowned photographer Abelardo Morell, who in each book sees a sculpture, and in each sheet of paper, infinite possibility.

Sweet-Smelling Words: Tzeltal Shamans’ Songs. In ceremonies to protect life, and especially those meant to cure an illness, Tzeltal shamans sing prayers that allow them to establish communication with the other side. In this book, Pedro Pitarch offers us the sweet-smelling beauty of six of these songs, which reveal to us a fascinating aspect of Maya faith: a means of conversing with the intangible.

Planes of Time: The Memoirs of Roberto Montenegro. Roberto Montenegro is a renowned twentieth-century Mexican painter. His studies in Mexico and the time he spent in Europe from 1900 to 1920 are the subject of these autobiographical tales. Montenegro’s drawings are given a unique context by the accompanying vignettes which he wrote during the two decades in question and after his return home.

Voices of Sleeping Ink: The Spiritual Trajectories of Luis Barragán. This volume builds a bridge between Luis Barragán and his work, describe the dreams that bring photographic portraits of Luis Barragán to life and give meaning to the materials, forms and spaces that make up his body of work. Access to his library opens up some inner spaces that had remained unexplored until now.

Brief Chronicle of Light. In Alfredo De Stéfano’s photographs, we witness a ritual activity that physically intervenes in the desert landscape to create a disturbing and often even transcendent vision. His images are combined with the work of Guillermo Arriaga, who identifies the key point of convergence between these two creators: the vision of the hunter, the man of action in the immensity of the desert.

A House Like Me: Building in Mexico City. A house is a mirror. It is a place where the body can extend itself and where dreams can expand. This is why it must be built according to the character, activities and wishes of its inhabitants, as shown in this guide that invites us to listen to our inner voice as it imbues personal spaces.

The Book of Hours: Poetry and Painting by Alfredo Castañeda. One of the most original and widely recognized artists of his generation, Alfredo Castañeda offers us this unorthodox Book of Hours, recalling the illuminated medieval books of prayers which, like the present volume, were composed of fifty-two meaningful moments, corresponding to the weeks in a year. This book is one of those unique art objects capable of defining an era.

Limulus. The Limulus is a fossil that, after two hundred million years, has finally moved into a new evolutionary phase in the art of Brian Nissen, who has re-created this creature in bronze and collages. Nissen also infected Alberto Ruy Sánchez with his obsession, inspiring him to write a story about this phenomenon that may also be called “poetry of the bizarre” or science fiction.

A Visible Past: Anthology of Poems about Ancient Mexican Ruins. Countless poets have been fascinated by Mexican ruins—ancient monuments that lead writers to try to capture their forms in words. This anthology presents poetry inspired by these eloquent witnesses to our history.

Legends of the Wind’s Bride: Leonora Carrington, the Writer. The writings of Surrealist painter Leonora Carrington are populated by hybrid beings. This book deals with these beings and Carrington’s other literary obsessions. On its pages, Lourdes Andrade enters into a dialogue with these monsters. What we hear are screams, moans, songs and voices that echo the lives whispering within us.

Factory of Saints. Capable of finding an interesting angle even in a pile of discarded statues in a workshop, photographer Tomás Casademunt visited the artisans who make plaster figures of saints, the Virgin Mary and Christ in Mexico and Spain. The result is an involuntary collage of sacred and profane objects that his photographer’s eye has turned into beautiful compositions. The poet Álvaro Mutis wrote a phrase to accompany each image.

Concert in Havana. The most brilliant writers from this island nation and a few notable foreigners who have spent time there take part in a concert in Havana. Each one extends an invitation to see this city through the eyes of the only medium that can remain unbiased: poetry.

Karmic Traces. A series of surprising photographs taken by Nina Subin in different holy places around the world. They create a new space on the pages of this book, one where the image is poetry. Weaving through this tour of wonders is an essay by Eliot Weinberger on time within time in the poetic experience. Thus, Karmic Traces is a lucid, twofold examination of poetry and contemplation.

Imaginary Architecture: Al Azrak, the Blue Palace. This look behind the fortified walls of the Blue Palace is an attempt to identify with medieval Moslem architects, their worldview, aesthetics and conception of power. These pages access a geography whose limits are defined by dreams and reality, somewhere between the Arabian nights and the precise geometry of architecture.

Verdant Architecture: the Uninhabited House and the Ghost of Desire. This book reveals the ties between architecture, literature and Surrealism, based on an evocative image that has emerged time and again through the ages: that of the house in ruins and the ghost that wanders its halls. The text is accompanied by María Sada’s illustrations, which help create an oneiric atmosphere.

The Thorn and the Fruit: The Ethnobotanical Garden of Oaxaca. The indigenous glyph that represents Oaxaca embodies the ancient relationship between plants and people in this region. In celebration of that connection, in this book Cecilia Salcedo’s camera reveals unexpected facets of these plants, while anthropologist Alejandro de Ávila invites us to explore oral traditions and reflections on this environment.

William Spratling: Anatomy of a Passion. Published memoirs reveal nuances of reality that are hidden to academic view. From this perspective, he analyzes the talents of William Spratling. With a sense of wonder and nostalgia, the author discusses Spratling’s abilities as a draftsman and a writer, his passion as a silversmith, his perseverance as a collector and his boldness as a legendary figure.

Moors and Christians: A Cosmic Battle. A theater with 8000 actors, 3000 assistants and a single spectator. A distant and exotic past converted into modern entertainment, into living words. The archaic poetics of medieval epics and baroque spectacle are vibrantly and passionately represented by a young nation. The cultures of mestizo Mexico hold startling treasures that have remained hidden like so many desert flowers.

Portrait of an Architect and a City. This book is a collection of writings by the architect Teodoro González de León, expounding upon his experiences, urban art, real and imaginary spaces that live within him and the poetics of architecture. The book contains ink drawings by the author.

Ruth D. Lechuga: The Pink Room. For those who knew Ruth D. Lechuga, seeing her Pink Room was as essential as visiting Frida Kahlo’s “Blue House” or certain galleries of the National Anthropology Museum. Put together obsessively by the best-traveled scholar in the twentieth century of the deepest heart of Mexico, it contained both modest and astonishing pieces from the carnival of shapes created in this country on the subject of death.

Oaxacan Marquetry: Viceregal Furniture from Villa Alta de San Ildefonso. Oaxaca’s mountains provide the backdrop for Villa Alta de San Ildefonso, a town distinguished for its exquisite cabinet-making in colonial times. Local artisans crafted the trunks, chests and writing desks that adorned homes in New Spain, and whose wondrous beauty can now be contemplated in this book.

Saltillo Sarapes. Despite being one of Mexico’s most emblematic garments, many enigmas still surround the origins of the sarape, its historic development and the spaces it has filled in our culture. This volume is an invitation to explore the fascinating universe of the sarape.

Art Nouveau. In the early twentieth century, the key elements of Art Nouveau—flowing forms, female figures and nature—began to be seen in everyday objects. These would later take part in a fundamental battle to conserve their ideal of beauty in the face of expanding industrialization.

Ruth D. Lechuga: A Mexican Memoir. The photography of a woman who has collected folk art as well as life experiences, documenting them with her camera to form a unique visual memoir of indigenous Mexico.

Retablos and Ex-Votos. Of modest manufacture but ambitious intent, ex-votos and retablos are a form of communication between humanity and the divine. Made by anonymous artists, they mirror popular religious beliefs.

Islamic and Mudejar Marquetry. Marquetry or inlaid work can turn everyday objects into something sublime. León R. Zahar explores the Islamic and Mudejar roots of this art form, whose techniques originated in medieval Cairo and Samarkand.

Mexican Beadwork. In their travels across Europe, America and Asia, beads became an accessory, jewelry, and even a model of the universe. Two specialists recount the twists and turns in the history of this art form, which has found in Mexico a receptive port-of-call.

Mexican Lacquerwork. Six authors share their insights into the ancient art of lacquerwork in Mexico, its Oriental and European influences and the importance of its preservation.

English Ceramics in Mexico. Three visions of the origins and production techniques of English ceramics, as well as their assimilation into day-to-day life in Mexico during the nineteenth century.

Corpus Aureum: Religious Sculpture. The two texts in this book discuss wood sculptures from the seventeenth through the nineteenth centuries, decorated with polychrome and gilt designs, which now form part of the Franz Mayer Museum collection.

Franz Mayer, Photographer. This volume is dedicated to the photography of celebrated collector Franz Mayer. With a keen sense of aesthetics, his photographs assimilated the tendencies of his time and revealed astonishing aspects of Mexico.

Rebozos from the Collection of Robert Everts. An award-winning publication about the traditional shawls collected by this European diplomat in the early twentieth century. A history of the rebozo and of this collection acquired by the Franz Mayer Museum.

How should we understand such concepts as mal de ojo, empacho, susto, caída de la mollera or disentería? The question involves so much more than a debate about words. These diseases are real insofar as millions of Mexicans and Latin Americans have perceived and experienced them as such, whether they live in the country, cities or—especially of late—suburbs. This book categorizes the illnesses recognized and treated by traditional medicine and deals with issues raised by the terminology of these “other” medical practitioners, i.e. medicine men, midwives, shamans and herbalists.

Body, Soul & Word: Nahua Medicine in the Sierra de Texcoco. In this book, David Lorente gives voice to midwives, medicine men, herbalists and graniceros (shamans who control the weather), allowing them to explain how the Nahua communities of Texcoco understand and treat disease, but also how they acquired their gifts and knowledge of healing. Lorente spends time observing and analyzing the complex system of specialists—comparing them to the communities’ needs—while looking for convincing answers to the meaning of illness. In a cultural context where traditional Nahua medicine often clashes with conventional Western remedies, Lorente also focuses on the vital role of women as mothers and healers in the medical explorations of Mesoamerican peoples. Consequently, he comes up with a series of novel proposals that reach beyond the Texcoco highlands’ confines in order to involve experts from other rural societies outside the traditional orbit of Nahua culture.

Rosita Ascencio: Purépecha Healer. In this book, we are guided by the hand of the Doctor Roberto Campos, an advocate of traditional Mexican medicine, through an exploration of the life and practice of Rosita Ascencio, a Purépecha healer who has recorded all of her patient consultations in journals, constituting an invaluable account of indigenous medical wisdom. The book tells the story of how Ascencio was initiated into the practice of folk medicine and of her struggle to build the Indigenous Purépecha Medical Practitioners’ Organization. It includes charts summarizing patient information and statistics, making this book a unique compendium of traditional medicine.

Jean-Claude Carrière (1931) likes to describe himself as a storyteller. He and Jean-Luc Godard are the last remaining active members of the French New Wave, a movement that forever changed the history of film. He wrote over twenty screenplays with Luis Buñuel and also ghosted Buñuel’s autobiography. He further co-authored now classic plays with Peter Brook. He has published over fifty books, including essays, novels and compilations of folktales. Among the many awards he has received for his books and scripts, we should mention his recent Academy Honorary Award for his lifetime achievements as a filmmaker, screenwriter and actor. In this new book, he seeks to share his life with his daughters, Iris and Kiara. Why not return to those places throughout the world that have most informed his way of looking? Why not choose seven sites (plus one) that have defined him as a person? From India to Mexico, from Iran to New York and on to Toledo, Kiara and Iris get to share their father’s encounters and thoughts in a journey where words recreate the special places he visited and reveal their mysteries.

Between Two Worlds: A Chinese-Peruvian Childhood. Memoirs have the appeal of making us see that memories are constructed as we begin putting together that vast puzzle of fragments, random facts and moments which would simply disappear if they were not parts of a greater whole. In these pages, historian Celia Wu performs an archeological experiment on memory and offers us delightful scenes of a family that left its mark in China as well as in Peru.

The Spaces of Seasoning: Shelter, Appetite and Altar. A delectable and essential essay on the cultural phenomenon of Mexican cuisine, and the places where we join in the adventure of savoring it.

Carrousel of Child-Gods. Composed of “instant” stories that are in fact word-pictures drawn as precisely as lightning bolts, telling stories in a flash, this book is clear proof that drawing and literature can be combined in the art of making books.

Natural History. According to myth, the world was made from water, earth, air and fire. In Benjamin Péret’s fantastic mythology, a sorcerer-poet can use these elements to create everything one needs in a Surreal universe: tricycles, moustaches, kisses…

The Underlying Weave: the Painting of Fernando Espino. The Argentinean painter and iconoclast is revealed in his silences, caustic humor and fidelity to a palette of earth tones. A portrait painted with the literary brushstrokes of three of Latin America’s finest writers who are also Espino’s personal friends.

Women Voices Poems. The voices in this anthology intermingle to speak of the sea, the city, flowers, insects, landscapes… all painted with the same brush: the written word transformed into poetry.

Fantastic Zoology. There are certain creatures like the dragon that, as Borges says, “arise in many latitudes and ages” because they are “necessary monsters.” These and other fantastic beings growl, howl or whine in fear on the pages of this book, which demonstrates that “the zoology of dreams is far poorer than the zoology of the Maker.”

The Artisan’s Hand. Four approaches to Mexican crafts: from an aesthetic, social, anthropological and symbolic viewpoint.

Like a beauty album, Rafael Doníz captures, through systematic observation and the dictate of the heart, the diversity of Mexico through its women. This book documents their faces, attire, customs, as well as the activities they have been engaged in for years, ultimately shaping them as a cultural heritage of our country. In the book, the women Doníz has photographed also gaze at us, smile, thus igniting a dialogue where the faces of these women also remind us of our own.

Nahua Erotica. The god Eros may have been a very distant or alien figure, but it seems his influence could be perceived even from Mesoamerica, where the Nahua lived their amorous and sexual passions. In this book, Miguel León-Portilla uncovers a Nahuatl literary tradition concerning the kind of sexual love that we call eroticism. In a very similar conceptual framework to that of Ancient Greece, the Nahuas perceived this element as having “the power of a surging waterfall that overwhelms everything.”

Interwoven Wisdom: The Work of Irmgard Weitlaner Johnson. Irmgard Weitlaner Johnson (1914-2011) was one of the pivotal researchers of traditional Mexican textiles. Seated next to the weavers, she learned their secrets firsthand, which allowed her to compile a body of work that was both thorough and meticulous, but most importantly, based on a genuine enthusiasm for the craft. Written by Weitlaner’s daughter, Kirsten Johnson—who found inspiration in her mother’s photographs, notes and research as she traveled across Mexico—this book seeks to uncover the knowledge that is hidden in the weft.

Mexico and Its Heritage. Every country shelters small jewels. Our country is full of these treasures, and many of them have been recognized by the UNESCO as World Heritage Sites. In this book, the most passionate writers and gifted photographers remind us of the grandeur of these incredible places and the impact they have on us.

In Praise of Mexican Cooking: Intangible Cultural Heritage. Traditional Mexican cuisine was declared Intangible Cultural Heritage by the Unesco in November, 2010. These pages provide a glimpse of what makes it possible. An appetizing book.

Guanajuato’s Renewed Splendor. The adventure of recovering the state of Guanajuato’s historical heritage began twenty years ago, when Guanajuato and its mines were added to the Unesco’s list of world heritage sites. This book is an account of the work of recovering this marvelous state’s former glory, lost with the passage of time.

On the Paths of the Purépecha. Archeology, colorful celebrations and fascinating tales by travelers in Purépecha territory. An invitation to trace the evolution of a marvelous culture inhabiting a land that has still not lost its enigmatic character.

Palm Sunday in Uruapan, Michoacán. Palm Sunday in Uruapan seems to be the crystallization of Vasco de Quiroga’s desire to see every indigenous community trained in a particular craft. Every year on this day, artisans who work in clay, textiles, lacquerwork, metal and basketry gather in Uruapan for a festival that is a window on a living tradition.

The Crafts of Mexico. This book is the product of the Smithsonian Institute’s recognition of Artes de México’s fifteen-year publishing history and its consistent and thorough examination of Mexican folk art. This anthology of essays, interviews and poems reveals an essential aspect of Mexico: its creativity.

Roots & Voices: Nahua Folk Tales. In Nahuatl and Spanish, this compilation by Gobi Stromberg, establishes a dialogue between two forms of artistic expression of the indigenous communities in the Balsas River basin in the state of Guerrero. It features reproductions of paintings on amate bark-paper, on the one hand, and on the other, a series of five folk tales issuing from the rich oral tradition of these Nahuatl-speaking communities. Together, they set up a literary and pictorial game, which reveals the cultural wealth of an indigenous language and the artistic relevance of Nahua painters.

An indispensable handbook that allows readers to understand the Mexican national anthem, while learning about its authors, composers and origins.

Guide to the Natural History Museum: 50 Selected Works. If we could see through the eyes of animals, we would likely perceive the human being as an arrogant creature that, in its desire to dominate the world, ultimately destroys it.

Celebrating the fifty-year existence of the Natural History Museum, one of Mexico City’s landmarks, this book takes us on an exciting tour, detailing the museum’s most important pieces: fossils, meteorites, taxidermied animals, insects and many more wonders that encourage us to look at ourselves within nature, from its point of view, and to thus reconsider our place in the world.

The chili pepper: Euphoria and Nuance. The love and even passion for nature embodied in chili peppers sprout in many other dimensions of Mexican life. Its specificity as a plant unfolds throughout the country in various forms and climates; its gastronomic attributes, both as a species and as a delicious food; its uses in ancient and modern medicine; its role in contemporary and past rituals in the diverse communities that are part of our cultural mosaic. This issue invites us to reflect on this fruit as a cultural and symbolic emblem of our country.

Chilam Balam de Ixil. This book resulted from the meticulous reading by the Colonial Maya of various European texts such as the Bible and the Poem of the Cid, as well as various studies on astronomy, astrology, calendars and medicine. The Maya, showing considerable astuteness and insight, appropriated this knowledge. With this facsimile, experts can further their knowledge of Mayan calendrical notations or traditional medicine; and Mayan enthusiasts can discover more about the culture’s world view and history.

Coral Gables Romances. This was the first book that Juan Ramón Jiménez —the Spanish poet awarded the Nobel Prize in 1956— wrote entirely in Latin America after being exiled during the Spanish Civil War. Artes de México is proud to offer its readers the first facsimile edition of an essential text, in order to understand the life and work of a poet who never abandoned his true homeland: poetry.

Arere Marekén. Facsimile of “Arere Marekén,” a short story by Cuban writer Lydia Cabrera illustrated by the Russian painter Alexandra Exter in 1933, in Paris.

Limited Edition

Between black and white, a unique and unprecedented repertoire is traced: the cartoons, drawings, banners, sketches, and engravings of José Chávez Morado. Like an exhibition capable of showing us the authenticity of the Guanajuato artist even in the smallest details, Chávez Morado in black and white. The nuances of ink also take us on a journey through crucial moments of the painter's life; a man who blurred the boundaries of creative expressions to build a surprising, satirical, and exceptional legacy

Tabasco has historically been a place of creativity and inspiration. An inspiration that, according to Gabriel Zaid, "blows like the wind and moves it all". In this issue of Artes de México, through a series of enlightening texts, readers can open their eyes to that reality. In Villahermosa, a secret dialogue between the history of its inhabitants, their particular use of the Spanish language, its climate, poetry, and their idea of time, coexist.

Portable light presents us with books in which a photographic essay and a writing experiment merge to invite us to see, to understand and to take possession of those lucid instants that we would like to treasure. In this book, Juan Pablo Cardona's photographic work pays homage to chance, nostalgia and the joy of bargaining that takes place in the Lagunilla market. Together with the text of the chronicler Pedro Anza, each image becomes sharper and the faces and faces of vendors and bargainers are revealed to us.

Popocatépetl - Iztaccíhuatl. Sacred Mountains: This is a story told through images to honor the memory of an indigenous people, who were given the name Mexicas by their radiant God. This people grew and developed in the midst of the waters of a great lake, and under the guardianship of two great volcanoes, they made their history and founded the great Tenochtitlan, thus bringing brilliance and prominence to the valley of the great Anáhuac, the origin and heart of our homeland.

The house where Luis Barragán lived until the end of his days embodies a unique expression of the artistic reflections and philosophical pursuits of one of the most emblematic architects of the 20th century. In this space, designed for thought and creation, as Alfonso Alfaro aptly states, the artistic concerns and ideas of a Barragán who, with a lucid sense of reality, managed to envision a radically personal itinerary, are synthesized.

El parlanchín extraviado features a protagonist: the Cuban people, whose loquacity fascinates the author and seems to influence everything—from the country’s history to the romantic relationships of its inhabitants. Silence, noise, language, music, harangues, self-censorship, the chatter of certain animals, and the sociability of a sacred tree are the themes vying for attention in these brief texts, where satire and humor take center stage:

The muteness of fish warns Cubans about the dangers of the deep.

Confluences, Photography by Alejandro Prieto takes us on a journey through western Mexico and the Sea of Cortez, two regions of the country known for their rich and diverse endemic flora and fauna. The beauty of these stunning images invites us to reflect on what makes them possible, on the mysterious connections woven between communities, geographies, and living beings

Special Edition. Huichol Art. The Huicholes or Wixaritari have captured the interest of art collectors with their beaded carvings and decorated gourds. However, there are other Huichol works that require a vital spiritual commitment, because the artist must undergo a personal and mystical quest to make them. What mysteries do these creations hold?

The Traditional Art of Mezcal. Special edition. This issue of Artes de México undertakes a journey through the rural landscape of mezcal producing regions, exploring their geography, history, traditions and day-to-day life. Its pages also present the vision of visual artists who have been seduced by this liquor.

A semejanza de la nación mexicana el tequila nació mestizo: del agave americano y de los alambiques llegados de Europa portadores de una consonancia arábiga. En este ensayo el autor explora el mundo simbólico que representa este elixir refinado y absoluto, cercano a veces a la perfección, inventado por los terratenientes acomodados, hijos de europeos o de herencia mezclada que contribuyeron a formar la nueva identidad mestiza. Hoy los atributos de México y los del tequila se sobreponen confundiéndose en una sola imagen.

Incandescencia nómada

Siempre hemos pensando que la pasión por el chile es exclusivamente mexicana. Este ameno relato nos contradice. En la India se padece la misma afición u obsesión por esta especie singular. Habituados a su sabor y a su lumbre de gozo los indios experimentan una abstinencia incómoda cuando no cuentan con este apreciado alimento.

Todos tenemos situaciones que se repiten una infinidad de veces, y los sueños no son la acepción, surgen en la mente como vivencias reales que a veces asustan. Pero ¿qué pasa cuando intentas dormir y no logras conciliar el sueño?. Lees, escuchas música o simplemente te quedas acostado sobre tu cama.
Orozco prefiere levantarse y pintar, pues su sueño que repite una infinidad de veces lo atormenta.

Poema dedicado al árbol del cacao, y a sus atributos comestibles que de él emanan, dejando como evidencia que sus semillas son unas de las más codiciadas del país.

Es asombroso conocer las historias que son contadas de generación en generación, estas que son ricas en información que solo nuestros abuelos conocían.

Magdalena Hernández nos comparte lo que vivió en Veracruz, y lo que su abuela le contó sobre unas aves que anuncian la llegada de los bebés, y que a su vez, estas aves eran las polinizadoras del chile piquín, semilla que ayudaba a mantener despierto a las personas que cuidan la milpa, entre otros que les servían a la comunidad.

Esto junto con otros datos son lo que nos comparte Magdalena en el siguiente texto.

Descubrimiento, desfile de novedades, ventana, ejercicio creativo, llamado a la acción: Zoología Fantástica es un libro que inicia la conversación íntima, la aventura, pero también una propuesta para repensar nuestra humanidad entre pelajes, pieles, deformidades y pliegues majestuosos de animales fantásticos.

Algunas vez te has preguntado, ¿cómo nos ven los extranjeros o cómo imaginan que fue la historia de nuestro país?. Estas preguntas son analizadas desde un punto de vista académico, pues historiadores han respondido sobre estas interrogantes. Pero, y si las analizamos desde un enfoque cinematográfico, ¿tiene la misma mirada y análisis?.

La Mirada circular trata de cómo fue contada la Revolución mexicana en Estados Unidos, desde un enfoque cinematográfico.

Oaxaca es un estado de la República mexicana rico en diversidad cultural, que se caracteriza por sus colores brillantes y llamativos. Pero, ¿de dónde vienen esos colores?. Ante esta interrogante, el siguiente texto nos da un panorama más amplio del proceso de elaboración de algunos de los colores que más usan las mujeres de la costa de Oaxaca.

Es bien sabido que entre los otomíes de la huasteca veracruzana el recorte de papel para la fabricación de los cuerpos de las divinidades es algo bastante común, sin embargo, ésta no es la única forma de convocar a los espíritus.

El maíz fue fundamental para las culturas prehispánicas, pero, ¿conocer a todas las deidades que se relacionan con el maíz?. Hoy descubrirás datos de algunos de estos dioses y su relación directa con el maíz.

Del maíz podemos encontrar muchos textos, desde cuentos, ensayos, datos curiosos o investigaciones. Pero en esta ocasión, Artes de México te comparte dichos populares con su respectivo significado para que disfrutes una nueva forma discursiva para conocer más sobre el maíz.

En nuestro país el Día de Muertos es una fecha importante; sin embargo, para los europeos el tema de la muerte es algo que prefieren evitar. Ruth D. Lechuga al ser exiliada y refugiada en nuestro país ve este tema con naturalidad, y adquiere un gusto por coleccionar todo tipo de cosas relacionadas a esta festividad.

El Cuarto Rosa es un casa-museo que crea Ruth para colocar todo este tipo de objetos. Es sorprendente todo lo que nos cuentan las autoras sobre el origen de este emblemático lugar.

En Guerrero, existe una fiesta religiosa en honor a San Francisco, y el fruto principal para decorar los estandartes son los chiles. Si quieres conocer más sobre esta festividad, lee el siguiente texto que cuanta detalles de la fiesta.

Poema surrealista de la autora Alice Rahon.

El chile es un fruto ancestral que representa a México, sin embargo, la experiencia que tienen los extranjeros al estar en contacto con este fruto es variada según su cercanía con el picor.

En el siguiente texto te presentamos la relación entre el chile y los extranjeros.

La fotografía es una disciplina artística impresionante que capta cualquier momento, y Rafael Doniz nos demuestra que las fotos tienen vida propia y expresan más que un momento determinado. Descubramos lo que nos cuenta el fotógrafo a través de su lente.

Poema dedicado a un árbol de una carretera. Y la ausencia que deja al ser podado.

Una buena parte de la historia de la lucha libre mexicana se escribe en femenino. Y es que las luchadoras han irrumpido en el cuadrilátero a retos de manera abierta y en otros momentos ocultas en las entretelas de la clandestinidad. En estas páginas, la autora nos narra momentos paradigmáticos de esta aventura apasionada y nos presenta a algunas de sus protagonistas.

Las voces de las artesanas nos dan cuenta de los secretos detrás de sus creaciones, los procesos y las dificultades cotidianas de su oficio. La antropóloga Eva Garrido registra los testimonios de las mujeres que han forjado el barro como una tarea doméstica, en la que han descubierto su destino.

Las técnicas textiles en el periodo prehispánico y virreinal es algo que se va descubriendo poco a poco, pues no existen registros de ello, solo en algunas partes del país las mujeres siguen usando esas técnicas. La profesora Kirsten Johnson nos habla sobre el hallazgo de Irmgard Weitlaner Johnson en el arte del tejido textil.

Las iguanas no bailan, pero Bemberecua sí baila. Y Honorio Robledo nos cuenta la historia de esta amigable iguana y la historia que tuvo que recorrer para que los habitantes del pueblo no la descubrieran en la tarima de baile.

Chucho Reyes fue unos de los artistas más importantes del siglo XX, fue reconocido por su labor dentro del arte popular. Grandes personajes como Luis Barragán y Mathias Goeritz admiraban su calidad en el arte. La presente biografía nos habla más a fondo sobre su carrera artística.

Alberto Manguel plantea una idea de lo que sería estar en una biblioteca ideas, cuales serían sus características para que los usuarios se sientan cómodos entre libros.

La autora Gabriela narra el proceso de elaboración del mezcal. Es una narración con tantos detalles que la imaginación crea un escenario fantástico del proceso.

Hace un par de semanas, en compañía de Elena Poniatowska y Carlos Pellicer, presentamos en el Centro Cultural Elena Poniatowska este extraordinario libro donde Rafael Doníz plasmó, más que una obra fotográfica, una búsqueda artística de vida: los volcanes del Valle de México se revelan ante la lente del fotógrafo, quien los descubre y redescubre con humildad y asombro. Aquí compartimos el texto de Víctor Muñoz, presentador del libro:

Los grabados de José Guadalupe Posada son conocidos en México, pues eran grabados que representaban la vida cotidiana, y en esta ocasión la autora Laetitia Bianchi nos comparte un análisis profundo sobre la obra artística de Posada.

La tradición del día de Muertos casi no se ha modificado en las comunidades indígenas, pero en las grandes urbes ha sufrido una metamorfosis. En la que los objetos sagrados se transforman en motivos de ornato o en banderas de la nacionalidad. ¿Qué piezas forman aún parte del diálogo que los hombres establecen con los dioses, y cuáles integran el universo decorativo?

En Día de Muertos es común escuchar poemas sobre la muerte, la ausencia o la perdida. Pero en esta ocasión, hay una dedicada al editor, sus actividades y su ambiente laboral.

La importancia de la Calaca como motivo del arte mexicano trasciende la fiesta del día de Muertos. En este artículo, la autora nos ofrece un recorrido por las más diversas manifestaciones artesanales de las calacas, relacionadas o no con la celebración de los primeros días de noviembre, y nos da cuenta de cuenta de una interesante paradoja: En México, la muerte es un personaje vital que se reinventa día con día.

Además de vestir como santos o arcángeles, fotografiar o pintar a los niños yacentes, una parte importante de los rituales usados para conjurar la tristeza de los parientes que se encuentran de pronto con “angelitos desertores” son los juguetes infantiles que se llevan a cabo en el “velorio de angelitos”. Malinalco, Estado de México, es uno de los pueblos donde siguen vivas esas costumbres rituales que un escritor aquí nos reseña.

Guillermo del Toro es unos de los cineastas más importantes de México. Y en esta ocasión, hace una revisión sobre el cine mexicanos de los años cincuenta, con películas de terror famosas y películas de luchadores que más le gustaban. Además menciona sus escenas favoritas y el porqué son las mejor logradas de toda la película.

Este texto fue hecho para un evento en conjunto entre Artes de México y el Colectivo Slam Poetry in Mexico, el pasado 30 de noviembre del 2024.

Afirma Carlos Fuentes que la naturaleza fotografiada por Gabriel Figueroa es una hermosa orquídea, pero que se trata de una flor carnívora. El Edén se ha vuelto agreste y gracias al arte de Figueroa vemos cómo los hombres miran con terror y fascinación su entorno. Esas miradas que nos miran desde la pantalla se entretejen con nuestro recuerdo, nuestra vida, nuestro destino.

Los dos retratos clásicos de Juana Inés de la Cruz son los realizados por Miguel Cabrera y Juan de Miranda. En torno a ellos el escritor Héctor Perea hace un análisis comparativo que nos induce a presentir a otra sor Juana, “la enorme poeta, la erudita, la sor Juana implacable”.

Poema dedicado a la pirámide de Teotihuacan y su origen cultural y ancestral de este recinto.

El siguiente texto, del antropólogo Federico Navarrete, fue publicado en el no. 99 de la revista Artes de México: Arte y cambio climático. Aquí, el autor y antropólogo nos propone que, para enfrentar un problema como la crisis climática, vale la pena volver la mirada al pueblo maya y reconocer algunas de sus enseñanzas.

Unos de los conocedores más minuciosos del Centro Histórico de la ciudad de México, quien además ha participado activamente en su restauración, el arquitecto Luis Ortiz Macedo, interrogado por Artes de México nos señala y comenta cuatro de sus lugares preferidos entre los muchos que son de interés en esta zona. Su selección es de cierta manera una breve guía relámpago para visitar algunos de los palacios deslumbrantes que ya han sido restaurados.

La presencia de la naturaleza y su color verde es imperdible para los seres humanos. Segunda intención refleja lo bello de la biodiversidad.

A propósito del 20 de noviembre. La autora Margarita de Orellana nos cuenta la vida de Jacinto Pérez y Micaela durante el enfrentamiento armado. Es una historia sobre estos dos personajes y como vieron filmar al general Pancho Villa.

Andrés Henestrosa es el trovador de un corrido sobre el pintor Diego Rivera.

La historia del águila parada sobre un nopal, es una de las más conocidas y enseñadas desde pequeños. En esta ocasión, el autor Jorge Ibargüengoitia nos expresa mediante este texto la hazaña de nuestros antepasados.

Si el jaguar ocupó un lugar importante en el arte de muchas ciudades mayas, en Cotzumalguapa sus representaciones alcanzaron singular sofisticación e inventiva. Híbridas y monumentales, imponentes pero jocosas, las esculturas de la acrópolis de El Baúl no sólo desafían los límites entre lo humano, lo divino, la fauna y la flora, también retan nuestro entendimiento de los atributos cosmogónicos del gran felino entre los mayas.

En el número 95 de la revista Artes de México se habla del papel de los rótulos comerciales, su origen y su evolución, planteado en un inicio como un “muralismo paralelo”, con otras intenciones y con otro desarrollo.

Alfonso Alfaro, autor de la biografía intelectual del artista, Voces de tinta dormida, retoma aquí el enorme reto de seguir avanzando en la comprensión del fenómeno creativo que es la obra de Luis Barragán. Alfaro lee los espacios de la casa como un “manifiesto de sus propuestas estéticas, la expresión de un programa”. Se trata de un itinerario muy distinto a través de la casa: uno excepcional que nos ofrece, en síntesis, las claves de un creador en su obra. Ámbitos son ideas, sensaciones, experiencias trascendentes: una manera de estar en el mundo desde México. Enumeramos, a manera de índice de este ensayo, con nuestras palabras, los diez principios que el autor explica con sutileza más adelante.

Hoy en miércoles de dosis poética, tenemos un poema de la coordinadora editorial de Artes de México, Lucía Cornejo que presenta un recorrido por las habitaciones de la casa de Luis Barragán.

Se dice que Villahermosa es una ciudad de poetas: entre sus calles nacieron algunos de los autores más importantes de la vida literaria del país. En este texto, con una impronta siempre nostálgica, el autor nos lleva de la mano por esas atmósferas tabasqueñas que sostienen un lirismo alimentado de trópico y agua.

Por fin contamos con una respuesta sólida y sugerente a la pregunta incesante sobre el lugar del amor en la vida y obra de Luis Barragán. A partir de los ámbitos de su casa, en el corazón de esta edición, late este ensayo de una escritora capaz de sumar investigación y sutileza, capacidad de comprensión, mucha empatía y aguda curiosidad.

Como un poema de largo aliento, Carlos Pellicer creó el Parque Museo La Venta, donde el paisaje natural de Villahermosa abraza su pasado prehispánico. El escritor imaginó un museo como un poema para ser habitado, un sitio donde el río del tiempo fluye con suavidad.

A propósito de la presentación de la revista El chile: Euforia y sutileza en la FIL. En dosis poética, descubre un poema muy fiestero de la presentación de los chiles.

Cada 12 de diciembre, millones de peregrinos se dirigen hacia la Basílica para establecer una alianza con la Virgen de Guadalupe; sin embargo, todos los días del año confluyen en este espacio numerosos visitantes, que, además de buscar la benevolencia de la Guadalupana, hacen de este un recinto un rico encuentro de expresiones culturales diversas.

¿Qué contiene una ciudad, qué se necesita para que un pedazo delimitado de tierra se considere en esa clasificación? Campbell es portadora de un fuego que logra incendiar el concepto de la espacialidad de las ciudades.

El amaranto no sólo fue un elemento esencial en la dieta del hombre mesoamericano, también se usaba en los ritos y era sustancia que daba forma a las divinidades indígenas. Aquí mostraremos un recuento sobre las propiedades sagradas que nuestros antepasados veían en esta semilla.

La poeta Coral Bracho presenta un poema de la tierra, como indicio de movimiento.

En el juguete están las costumbres, la vida cotidiana y la vida social de un pueblo. Cómo comen, cómo se relacionan, cómo se representan los papeles de hombres y mujeres. Los objetos útiles en la vida cotidiana que se crean en pequeño, desde la canastita hasta el camión.

El Manual de zoología fantástica es una plena invención borgiana, resultado del instinto selectivo de un gran escudriño de universos, del explorador del universo “que otros llaman biblioteca”.

¿Cómo podríamos definir el azar? Para Alberto Ruy Sánchez: “era un elemento de juego, de posibilidades combinatorias, de formas geométricas que se pueden alternar casualmente; formaba parte de un lenguaje y de unas matemáticas secretas. Ahora los pintores tienden cada vez más a enfatizar en el azar su rasgo de destino”.

En la mirada de los iniciantes Huicholes, los ríos, arroyos y corrientes subterráneas llevan la sangre de los dioses que se ofrecieron en sacrificio en el principio de los tiempos para crear el gran cuerpo que es el mundo. Este gesto primordial se renueva cada vez que se practican ritos con sacrificios de animales cuya sangre se lleva a los lugares de culto en el desierto para ofrendarla a los dioses. En las lagunas y manantiales de estos sitios se recaba agua, que es la sangre de la tierra, y se lleva hasta el mar. Así, la labor de estos especialistas rituales es mantener el pulso del mundo, que palpita en rojo

Siempre hemos pensado que la pasión por los chiles es exclusivamente mexicana. Este ameno relato nos contradice. En la India se padece la misma afición u obsesión por esta especie singular. Habituadas a su sabor y a su lumbre de gozo, los indios experimentan una abstinencia incómoda cuando no cuentan con este apreciado alimento.

En este texto de Artes de México se abunda acerca de la arquitectura islámica y algunas de sus características; El Palacio Azul presenta el contexto y la descripción de un palacio que sólo vive en la imaginación.

El pasado 18 de enero, fue el aniversario luctuoso de Juan O´Gorman. Y hoy lo recordamos con uno de sus trabajos más importantes. El mosaico de la Biblioteca Central de la Ciudad Universitaria.

El siguiente texto, del antropólogo Federico Navarrete, fue publicado en el no. 99 de la revista Artes de México: Arte y cambio climático. Aquí, el autor y antropólogo nos propone que, para enfrentar un problema como la crisis climática, vale la pena volver la mirada al pueblo maya y reconocer algunas de sus enseñanzas.

Los tepehuanes celebran las fiestas patronales mediante jornadas dancísticas lideradas por el Viejo de la danza o ja´ook, un personaje representado como el diablo y toro. Las máscaras muestran que su concepción trasciende la figura cristiana de maldad, para incorporarlo como una entidad transgresora que habrá que domesticar.

Una máscara no es ante todo lo que representa, sino lo que transforma, es decir, elige no representar. Igual que un mito, una máscara niega tanto como afirma; no está hecha solamente de lo que dice o cree, es decir, sino de lo que excluye.

El poeta Rubén Bonifaz Nuño le dedicó un poema a una mosca, insecto poco agradable para muchas personas, sin embargo, el poeta escribe la rutina de una mosca.

Estas son algunas historias recogidas de José Luis Trueba Lara de varias fuentes.

En la época prehispánica los nobles, los poetas y los sabios bebían en sus banquetes el “agua preciosa”, hecha de cacao y hierbas aromáticas. ¿Cómo se preparaba esta refrescante bebida? ¿Qué semejanza y qué diferencia guardaba con el chocolate virreinal? Aquí el investigador nos invita a conocer y a recuperar este inusitado tesoro líquido.

De tlazolli, "basura", en náhuatl, cuyo sonido recuerda al de tlazotli, "cosa preciosa", se deriva el nombre de Tlazoltéotl. Diosa de la basura, ¿o diosa preciosa?, nos la describen códices y otros manuscritos como patrona de la vida alegre, "la que provoca, enciende, alivia y baña las obras de la carne".

Del griego afrós, "espuma", proviene -según Heródoto- Afrodita, porque su ser se formó de blanca espuma, esa que apareció alrededor de la piel inmortal, en los genitales de Uranos, cercenados por Cronos y arrojados por él al pronto de muchos oleajes.

En esta edición Artes de México nos invita a profundizar en el trabajo de alguien que antes de iniciarse en la investigación de artes indígenas era ya una consumada fotógrafa.

Mi experiencia sobre este asunto del amor entre los pueblos indígenas se relaciona más bien con el lugar donde he realizado trabajo de campo desde hace veinte años. Lo que me han compartido mis interlocutores nahuas es revelador para mí mismo.

Entre los nahuas de la Sierra de Texcoco, devenir chamán es aprender a soñar, lo cual implica transformarse para habitar por momentos en el mundo de los espíritus de los Dueños del Agua, donde los alimentos son inmateriales y los peñascos sirven de hogar. Así lo vemos los humanos, pero quienes habitan allá lo perciben de otra manera. En estas páginas, el antropólogo nos muestra cómo en esta zona el chamanismo implica un juego de perspectivas y una fiesta de metamorfosis.

Reconocido como uno de los artistas más originales y renombrados de su generación, Alfredo Castañeda nos propone este heterodoxo Libro de horas, recordando las ilustradas bitácoras medievales de oraciones que se componían, como éste, de 52 momentos significativos: un ciclo anual. Este libro es uno de esos objetos de arte que son únicos y marcan un tiempo.

Este artículo fue publicado, originalmente, en la revista 101 titulada Azcapotzalco de la editorial Artes de México, en él se puede leer como Azcapotzalco fue tierra de lujo y descanso durante el Porfiriato.

El pintor Alfredo Castañeda nos propone este heterodoxo Libro de horas, recordando con un guiño las ilustradas bitácoras medievales de oraciones y otros rituales de la vida que se componían, como este, de cincuenta y dos momentos significativos: un ciclo anual.

En nuestra colección Libro del alba, dedicada a los niños. Encontramos dos texto que hablan sobre la aceptación del cuerpo. El primero titulado Todos somos diferentes que nos dice: "En este mundo todos somos diferentes y eso es perfecto", dijo mi abuela cuando descubrió cuál era el gran problema que me quitaba el sueño. Desde entonces aprendí a mirar esa marca que me hacía tan singular y hasta la encontré hermosa.

Y el segundo Mi cuerpo y yo. "Llegamos al mundo. Ante nosotros se ofrecen los sabores, los sonidos, las imágenes. Un día, pensamos: “Yo soy muy diferente a mi cuerpo”. Poco a poco, nos percatamos de estas diferencias".

Este nuevo número de Artes de México, Luis Barragán devela cómo su persona se proyecta en su casa.

En la noción maya del tiempo se entretejen las mediciones del tiempo cósmico, en el que los astros describen sus caminos, y las del tiempo humano, marcadas por los ciclos de la vida. En sus cómputos se entrelazan varios calendarios en una sofisticada matemática. Aquí conoceremos los rasgos de uno de ellos, el tzolkin, que ha sido utilizado durante dos mil años.

Nos encontramos con un diálogo entre dos mujeres alegres o alegradas que se querellan de sus experiencias amorosas.

Al preguntarle a José Luis Cuevas cuál ha sido la huella que ha dejado la obra de Gabriel Figuera en él, apasionado conocedor del cine mexicano, nos envió esta carta donde revela una influencia, hasta ahora poco conocida, del fotógrafo sobre el dibujante y grabador citadino.

Mujeres del México profundo reúne retratos de mujeres de diferentes regiones de México, a través de la mirada del fotógrafo Rafael Doníz.

Uno de los proyectos culturales más notables y significativos de la década de 1960, fue la creación del Museo Nacional de Antropología e Historia. Diseñado por el arquitecto Pedro Ramírez Vásquez, para alojar la colección más grande de arte prehispánico del mundo, y es reconocido por su extraordinario valor histórico, simbólico y estético. Dentro de este espacio, encontramos El mundo mágico de los mayas, obra de la pintora Leonor Carrington.

Fragmento del poema El resplandor del ser

Este texto tiende un puente entre Luis Barragán y su obra; entre la vida interior de una artista y su arquitectura. Ellas constituyen probablemente el primer acercamiento biográfico a un personaje tan significativo para el arte de México.

En el panorama de la medicina tradicional serrana, las madres de familia actúan como auténticas curanderas no iniciadas. Carentes del don y del reclutamiento místico distintivo de los especialistas indígenas, poseen sin embargo conocimientos cosmológicos sobre la concepción nahua de persona y los procesos de salud-enfermedad que les permiten poner en práctica procedimientos terapéuticos.

Para Lady Maldad, el cuadrilátero es un ámbito de linajes: su padre inició como luchador y después como árbitro, y ella, desde pequeña, se familiarizó con el ring, ese mundo de trancazos, cuerdas, caídas y adrenalina. En la arena, descubrió la lucha y la amistad, y aprendió cómo sobreponerse al dolor. Así, ha labrado el camino que la llevaría a ser “la ruda más ruda”. En este texto compartimos su testimonio sin máscara.

A Enrique Salcedo

Las manos de los artesanos poseen la belleza que se obtiene a fuerza de crear obras de una gran vitalidad. Son manos que nos revelan una faceta a veces invisible de nuestro México: la de una cultura popular intensa que igualmente crea objetos bellos e irrepetibles para la vida cotidiana que para los usos rituales. Sus creaciones son testimonio de tradiciones ancestrales que se reinventa día con día; por eso nos hablan de nuestro pasado y de nuestro presente. Y, al hacerlo, nos recuerdan quiénes somos y en qué lugar vivimos.

Los miembros del grupo surrealista gustaban de las fascinaciones singulares y las atracciones enigmáticas. México era una de ellas. Para comprender esta atracción, hay que entender que este país se encuentra en la encrucijada de sus ideales; ofrecía mitos y revolución, estética y misterio.
Philippe Ollé-Laprune

Cada país alberga pequeñas joyas. El nuestro está lleno de estos tesoros, y muchos de ellos han sido reconocidos por la UNESCO como Patrimonio Mundial. Y el tequila es una de esas joyas.

De los caballos de palo a las muñecas, de los yoyos a los trompos chilladores, los juguetes tradicionales mexicanos responden a las distintas edades de los niños y a los diferentes horizontes del juego. Aquí la antropóloga sitúa estas piezas en ambos engranajes y nos invita a redescubrir el placer no sólo de mirarlas, sino también el de integrarlas a nuestra experiencia cotidiana.

Este libro busca destacar las voces femeninas en la poesía mexicana, las cuales reflejan las vivencias, sentires y memorias de diversas mujeres, así como la experiencia común de un gran conjunto de mujeres. La cohesión entre los poemas y su fluidez evocan la idea de una sola voz poética, aunque sean independientes entre sí. La tristeza, nostalgia, el amor, la búsqueda de un hogar, los fantasmas que las habitan, la naturaleza y el crecimiento habitan sus poemas.

La danza de los cotlatlaztin, hombre-viento, del pueblo nahua de Acatlán, Guerrero es un ritual que permite crear o recrear el tejido social de las comunidades hablantes de un idioma amerindio. Tradicionalmente, en el marco de las ceremonias de petición de lluvia que se realizan cada año a principios de mayo, los danzantes que participan en ella asumen el papel del viento que trae las aguas. La actual resignificación de esta danza, que se asocia a renovadas actividades ceremoniales, permite considerar a sus integrantes como guardianes simbólicos del pueblo ante tiempos de violencia.

Este volumen es un paisaje de ecos que esperamos sea una invitación a fascinarse como la escritura del gran poeta Octavio Paz y con las distintas lenguas de México y del mundo.

En la plástica contemporánea las flores cobran vida como juegos de luz y de color, como un mundo pueblerino cada vez más olvidado como susurros de un diario íntimo, como explosiones de formas cercanas a lo onírico, como reflejo de los recovecos innumerables que esconde el alma del artista.

El coronel Antonio Carreón sugirió que “tal vez” se debiera a Catarina de San Juan “el origen de las enaguas llamadas de castor poblano (tejido de lana rojo) y el apodo de chinas poblanas que se da a las hermosas criollas de Puebla”. El número 66 de la Revista Artes de México. La China Poblana. retoma este tema.

Como podemos ver en una gran cantidad de documentos del mundo antiguo, la acrobacia tiene origen ritual. Este artículo nos deja ver que en México esta tradición ha encontrado continuidad en algunas danzas populares, en las que se ejecutan verdaderas proezas corporales.