Mexican Swinging Sixties: Leonora Carrington and the Mexican Neo-Avantgarde in the 1960’s
Résumé
This paper aims to study and highlight the exchanges, contributions and correspondences between Surrealism “displaced” in Mexico from the 1940s onwards and the new Mexican avant-gardes of the second half of the 20th century. Against the commonly accepted idea of a strict isolation of Surrealist artists in exile, many women artists—among them Leonora Carrington, Kati Horna, Alice Rahon, Remedios Varo and Bridget Tichenor—were fully integrated into the cultural circles of the time, and played a leading role in the development of an alternative cultural network to the official artistic channels dominated by the Mexican School of Painting.
These exchanges are reflected in multidisciplinary participation in avant-garde events and the common desire of national and Surrealist artists to create new spaces of expression outside official institutions. Through the specific example of Leonora Carrington and her collaborations with the Mexican theatrical, literary and political avant-garde, we propose to interrogate notions of national allegiance, mobility and gender as productive categories of analysis, in order to break with Eurocentric interpretations of the Latin American avant-garde. Leonora Carrington's personal universe therefore resonates with the preoccupations of new generations of artists who do not hesitate to assimilate, transcend, mock (sometimes) and question (often) the authority of their foremother. In doing so through their artistic experiments, they continue to write and expand new narratives of Surrealism, where radical dreams are made tangible.
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