Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

CORTÉS, Dannae / CRUZ, Aura / GALLAND, Jani / PÉREZ, Marcela
the intrusion of the State in economy 12 , openness to investment
and foreign products through international trade treaties, the disappearance
of barriers for a growth oriented “out”, eliminating the
budget deficit of the State and the limitation of social spending by
the state in education, housing, security, medical care, transportation,
culture, etc.
In line with the principles of the neoliberal conception model,
the design submitted by the new official line is other. The design
worthy of exhibit doesn’t seem to be intended for everyday life
or the “internal market”, but projected outward and subordinated
to the global discourses of high capitalism and its flags. The design
is now routed to the foreign market and becomes a luxury
item, of aesthetic contemplation, fulfillment of desire for those
who have been included in global citizenship, and leaving out
those who do not practice the new game “competition, efficiency
and excellence”.
The Franz Mayer Museum, decorative arts and design
In line with the privatization of activities previously managed by
the State, private institutions arise for educational and cultural
work. Franz Mayer Museum was finally opened in 1986, after a
management that began in 1963 through a trust in conjunction
with the Bank of Mexico. Franz Mayer was a German immigrant
whose passion for the acquisition of decorative objects led him to
donate his collection to the museum. He died in 1975, before he
could see the museum in activity.
For design, the relevance of this museum lies in the constant
dissemination of the work of industrial and artisanal designers,
both national and international. It is home of two biennial contests:
“The utilitarian ceramics biennial” and design award “Clara
Porset.” In addition, there are regular exhibitions of objects that
have a particular profile of craftsmanship. It is noteworthy that
the museum keeps in constant contact with private and public
universities for the organization of events aimed mainly to the
dissemination of design.
Mexican Factory Design13 By 2011, thirty years have elapsed since the first Mexican Design
salon in the MAM. The Museum, now under the direction of a neoliberal
state, allied with the Design week (DESIGN-WEEK-MEXICO)
and created the exhibition “Mexican Design Factory”, where is
exposed a definition of Mexican design through the discourse of
some recognized authors in the middle. This time, there is a strong
emphasis on issues such as sustainability, locality, globalization,
inclusion, desire: the great themes of the era of information. What
is displayed is made up mostly of proposals aimed at high-income
markets, and in relation to issues of inclusion and location, these
are actually geared more to give the office a paper-based labor, far
from considering as a design proposals receiver as they are generally
luxury items that match lifestyles globally. The craftsmanship
12 The disappearance of parastatal and non-intervention gives way to the free
Market.
13 MAM, News bulletin “Fabrica mexicana. Diseño industrial contemporáneo”,
2011.
is integrated as a competitive distinction for insertion into the international
market for its strength, but overall plastic dislocated
idiosyncrasy that has given rise. The product design is understood
and thus appears as a piece of art, an element of distinction between
a “designer” piece and a regular piece. This time, the academy
is not part of the organization; most of the sponsorship comes
from private companies.
7. Discussion
Throughout this discussion it has been revealing that the transformation
of the notion of design in modern Mexico is closely related
to the purposes of the institutions involved in the development
and dissemination of it. We further understand that these
structures are the foundation on which to build the feasibility of
projects. We know we face a turning point, and that the neoliberal
model is in check, but the models that preceded it will not return.
In the manner of Derrida, we seek to give voice to what has been
occluded by the dominant models imposed from outside, we give
voice to the design that is done day by day, from and for the Latin
American region. The possibilities that are opened up at this work
of deconstruction, lead us to the assessment of what the experience
of its own history is, to develop adaptive skills to meet our
circumstance (Julier, 2002): the design from and for Latinamerica.
Design finds its richness and diversity in an evolutionary process,
as Artemis Yagou would say (Yagou, 2005).
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Design Frontiers: Territiories, Concepts, Technologies 177