Lucy Seena K. Lin
Consuelo Flores’s altar created for Self Help Graphics’ exhibition ‘‘The 43: From Ayotzinapa to Ferguson.’’
Tragedy does strange things to our conception of proximity. Sometimes we can connect more easily to another’s suffering in a different country than we can to a tragedy a few miles away. In the expanse of Southern California, where the experience of urban space is fragmented into disconnected islands of community, what does a mass shooting in San Bernardino, at the urban periphery, mean to someone living in the city of Los Angeles proper? How do Angelenos process an act of violence toward a queer, primarily Puerto Rican, community at an Orlando nightclub? Post-feminist cultural theorist Judith Butler, when writing about the conditions for a “grievable life” makes an “appeal to a ‘we,’ for all of us have some notion of what it is to have lost somebody.”1 What can we hope to recover by offering our grief across territories in search of a collective memory in this current era of cultural plurality and technological interconnectedness? Los Angeles, as one of the world’s centers of artistic and cultural production, is a laboratory for interrogating the role of art, informality, and grieving in the global twenty-first century. The case of the forty-three disappeared2 students from Ayotzinapa Rural Teachers’ College in Mexico—a tragedy that reverberated throughout the world—has illuminated Los Angeles’ particular role in the production of collective memory.
On 26 September 2014, forty-three students from the Ayotzinapa Rural Teachers’ College disappeared from Iguala, a city in the state of Guerrero, Mexico. Guerrero is a largely rural state with a majority indigenous population, many of whom leave their home region as economic migrants in search of jobs in other Mexican cities and in the United States. With the bodies of two students recovered to date, forty-one students remain missing. Gema Santamaría, Professor of International Studies at the Instituto Tecnológico Autónomo de México, claims that the Mexican government’s lack of transparency and efficacy in the investigation process reflected its lack of accountability in the aftermath. Indeed, public perception increasingly viewed local law enforcement and the federal government as complicit in the disappearances. “Ayotzinapa ‘fue el Estado’ inasmuch as it was and continues to be the result of impunity and systematic practices of abuse within different levels of government.”3
In Los Angeles, mourning for the students has taken the form of what we call “anti-memorialization,” whereby traditional forms of memorialization are upended through informality, ephemerality, art, and the digital realm, in order to politicize and bring attention to an injustice. While informal memorials have existed as long or longer than their formal counterparts, anti-memorialization moves these informal memorials into the contemporary reality of a digitally networked world and pushes them from private mourning to public activism.4 There was also an outpouring of protests, demonstrations, and informal memorials throughout Mexico in response to the disappearances, with the largest demonstrations numbering in the tens of thousands on the streets of Mexico City. The global response was no less overwhelming: groups of students, local organizations, artists, activists, and other mourners posted their rituals and protests online to signal their solidarity with the friends and families of the disappeared students, and with the Mexican nationals demanding accountability from their government. The reactions and the incident itself went largely unreported by formal local and global news outlets and instead leapfrogged into the digital realm, where a keyword search of “Ayotzinapa” produced numerous links to a variety of alternative online-style reportage, including blogs, political media sites, YouTube pages, and Twitter feeds and hashtags. The Global Anti-Memorial Map for Ayotzinapa’s 43 locates and catalogs the cities where the anti-memorialization activities were presented first in physical form and then posted and shared online. The public anti-memorials ranged from mass protests, demonstrations of candlelit ceremonies, public performances to the recurring motif of empty school-style chairs that symbolized the missing bodies. Documented and archived on the Internet, these acts represent the beginning of a globally oriented collective memory of mourning and protest.
Consuelo Flores’s altar created for Self Help Graphics’ exhibition ‘‘The 43: From Ayotzinapa to Ferguson.’’
Seven months after the disappearance of the forty-three students, families and other activists installed a metal sculpture reading “+43” on Mexico City’s Paseo de la Reforma. Along the sidewalk, the phrase “Porque vivos se los llevaron, vivos los queremos!” (“Because they were taken alive, we want them back alive”) was painted. The installation of “+43” was accompanied by no formal ceremony; there were no government officials present. Rather, the installation of what the activists called an “anti-monument” was a public challenge to the Mexican government that had failed to provide any answers. The anti-monument expresses the public’s refusal to accept death as the final condition. Moreover, the anti-monument’s appropriation of public space, just blocks away from formal memorials to Mexican history Ángel de la Independencia and the Monumento de la Revolución, contests the national discourse of what is worth remembering. With the large metal sculpture by an anonymous artist came a warning: if the Mexico City government removed the anti-monument, they would be seen as accomplices of the crime.5 Several people volunteered as guards of the anti-monument in order to keep it safe.
In Los Angeles, as in Mexico City, the proliferation of anonymous street art, in the form of stenciled and spray-painted icons of the number “43,” political text, and unplanned sidewalk altars nearly two years after the reported disappearance, reflect ongoing informal calls for justice. In an art installation by Consuelo Flores, images of each of the forty-three students are interspersed with floating cutouts of flora and fauna, all suspended above a shrine of red handprints on paper sheets and stones placed in a formation that surrounds a single, black fabric-covered desk to symbolize the student status of the disappeared. The piece was part of an exhibit sponsored by Boyle Heights–based arts organization Self Help Graphics and Art entitled 43: From Ayotzinapa to Ferguson. The exhibition anti-memorializes not just the forty-three students from Ayotzinapa, but victims of police brutality in the United States as well, linking the two social movements across national borders. This anti-memorial was part of a larger, three-part exhibition, Ayotzinapa: A Roar of Silence, which took place over sixteen weeks and involved three other local arts organizations dedicated to social justice: Social and Public Art Resource Center (SPARC), Center for the Study of Political Graphics, and Art Division.
Embedded in 43: From Ayotzinapa to Ferguson is a cosmopolitan orientation, initiated by the international call for poster art by the Oaxacan-Mexican artist and activist Francisco Toledo to universities, museums, and art communities. The request was Toledo’s way of grieving with mourners around the world, and his action prompted local and global linkages that amplified the otherwise isolated anti-memorialization acts through the organization of political arts spaces in Los Angeles. The coalition among the four arts organizations, prompted by the Center for the Study of Political Graphics in Culver City, is movement-building akin to the sort of organizing in which political activist groups engage. As a group, these organizations assumed the mantle of public accountability even as they contended with their own missions, communities, political and aesthetic principles, and precarity as small, struggling organizations.6 Shown sequentially, the exhibitions amounted to what the LA Times called an “arts festival of protest” by providing a platform for artists to memorialize the victims, for the immediate public to participate in the related programming, and as a cry for Angelenos to resist structural injustice.
The local and global proliferation of anti-memorials undoubtedly places pressure on those responsible—in particular the complicit Mexican government—to provide answers, to hold someone accountable, and in short, to act. Yet the extent to which the Mexican government cannot ignore its citizens’ demands would seem to depend on the intensity and duration of those demands. In other words, it depends on the degree to which the mourning of the event translates into permanent, collective memory.
According to French philosopher and sociologist Maurice Halbwachs, the theory of collective memory alludes to the idea that “knowledge about the past is shared, mutually acknowledged, and reinforced by collectivities such as small informal groups, formal organizations, or nation states and global communities.”7 In light of the 2014 event, collective memory has been shaped and defined by cultural or “collective trauma.” The collective memory of trauma is the “memory of an event or situation that is laden with negative affect, represented as indelible, and seen as threatening to a society’s existence or violating its cultural presuppositions.”8
The instances of ongoing violence in Mexico, government culpability, and state-sanctioned violence are not new to Mexico’s history. In 2013, according to the country’s national statistics institute, 93 percent of crimes in Mexico go unreported.9 During the Ayotzinapa investigation in Iguala, approximately 129 unidentified bodies of disappeared individuals turned up in mass graves unrelated to the Ayotzinapa students.10 Journalist Cesar Martinez wrote that the 1968 student massacre at Tlatelolco, and the forty-three Ayotzinapa students represent the two cultural traumas that have most permeated “Mexican society, political discourse, and civilian dialogues,” in the sense that these events have “usurped a society’s fears and memorialized them as an indicator to prevent a similar case from occurring.”11 To what extent has the collective memory in the aftermath of Mexico’s two “biggest” traumas led to collective action and social change, so that such traumas may never again take place?
Martinez argues that the “collective memories” of 1968 and 2014 have produced art, formal and informal monuments, and film, but no concrete legal accountability for the perpetrators.12 Knowing this, we must ask, is legal accountability the only type of accountability that is valuable to track in these events? In the case of the exhibition at Self Help Graphics, art is the mechanism through which awareness is raised by creating a participatory public, one that invests itself in social change over the long run. While high art is often complicit with the negative externalities of globally networked capital, this kind of participatory, socially engaged, and bottom-up art can be a powerful force for good. In other words, it takes time—and art can be a vehicle through which memory is sustained through time. This is especially important when accounts of “what happened” become increasingly contested.13 It might be better to say, then, that it is the quality and diffusion of the memory of the forty-three students that will ultimately determine the degree to which justice is served. Contemporary memory production, or anti-memorialization, sustains the memory of structural violence to drive the search for justice using tools of the digital age.
Los Angeles has become a key hub in the mourning for Ayotzinapa through its three-part exhibition which extended and amplified its place as a global tragedy. The exhibitions moved the anti-memorials into the gallery, effectively transforming the products of grief and outrage into objects of cultural and aesthetic import. These actions are not to monetize or to fetishize grief. On the contrary, their place in a respected art institution in Los Angeles, a city widely recognized as a cultural capital, state that the issue is important, and that the community of those affected extends from a handful of families in Guerrero to you, a visitor to this gallery.14 Self Help Graphics further localizes a globally diffused mourning by inviting forty-three Southern California–based artists to take part in 43: From Ayotzinapa to Ferguson. The artwork they produced grieves for not only Ayotzinapa victims, but also Los Angeles and the United States, with their histories of institutional violence against people of color. Given the large population of people of color—both immigrants and native-born—Los Angeles as a place embodies this in a heightened sense. In addition, Los Angeles is home to a substantial Mexican population, and specifically communities of indigenous Mexicans from the rural states of Oaxaca, Chiapas, Veracruz, and Guerrero.15 For these communities residing in the United States, they receive news of kin and kith in Mexico digitally, primarily from their online social networks. This is also how information of their transnational communities disperses, creating pathways moving between the local and global. The timeliness of the exhibition speaks to Los Angeles’ unique capacity as a migrant-concentrated, metropolitan node and a center for cultural and artistic production to respond with anti-memorialization, and an exhibition designed to travel beyond its geographic boundaries.
Ayotzinapa anniversary march in Mexico City, September 2015. Photograph by the Organization of American States Inter-American Commission on Human Rights, via Flickr.
The deluge of submissions to Francisco Toledo, totaling 700 pieces of poster art from locales like Iran, Denmark, Poland, Lebanon, Cuba, and Argentina, and the global manifestation of anti-memorial events, collectively represent the emergence of an extensive interconnected transnational network. This network understands the need for acts of solidarity and the knowledge that the aggregation of voices affects how movements, and, therefore, social change takes place. At a fundamental level, the need for global mourning, for a collective memory, and for what theorist Paul Gilroy calls a “cosmopolitan hope”16 to pursue a globalized humanistic existence is made abundantly clear. This is the learned need for solidarity of a cosmopolitan global community interconnected by digital culture that expresses their agency from below rather than waiting for or expecting that their governments and legal systems will enact the necessary justice. The 43: From Ayotzinapa to Ferguson exhibit is a reminder that when communities here and abroad come together to mourn and demand justice via art, the work produced not only serves as a reminder to reflect on these tragedies, it is a deliberate call to action for us all.
A Day of the Dead offering to the disappeared Ayotzinapa students in Las Vegas. Photograph by Marco Mora-Huizar, via Flickr.
1 Judith Butler, Precarious Life: The Powers of Mourning and Violence (London: Verso, 2004), 2.
2 Desaparecido (the Spanish word for “disappeared”) has a different connotation in Mexico than its English translation. In Mexico, “disappeared” is an active verb rather than a passive adjective. To call the forty-three students “disappeared” is to suggest that someone actively made them disappear.
3 Gema Santamaría, “Ayotzinapa: An Unheard Cry for Justice,” OpenDemocracy, 25 June 2016, https://www.opendemocracy.net/democraciaabierta/gema-santamar%C3%ADa/ayotzinapa-unheard-cry-for-justice.
4 For more on the new relationship between digital networks and political activism, see Manuel Castells, Networks of Outrage and Hope (Cambridge, UK: Polity Press, 2015).
5 David Vicenteño, “Colocan ‘Antimonumento’ 43 en reforma por normalistas de Ayotzinapa.”
6 “We’re building threads of unity in order to survive,” Bernstorff says, “because we’re all small organizations, with similar struggles. We don’t survive alone; we survive as a unit.” Deborah Vankin, “A poster exhibit stopping in LA gives voice to Mexico’s missing 43 students,” LA Times, 16 February 2016, http://www.latimes.com/entertainment/arts/culture/la-ca-cm-43-students-missing-sparc-20160221-story.html.
7 M. Halbwachs, On Collective Memory (Chicago: Univ. Chicago Press, 1992), 42.
8 Neil J. Smelser, “Psychological Trauma and Cultural Trauma,” in Jeffrey C. Alexander, Ron Eyerman, Bernard Giesen, et al., Cultural Trauma and Collective Identity (Berkeley, University of California Press, 2004), 31–59.
11 César Martínez, “68, 43: Analyzing the Collective Memories and Cultural Traumas of Mexico’s Most Infamous Atrocities,” 68 43, 4 May 2015, https://mexico6843.wordpress.com/68-43-analyzing-the-collective-memories-and-cultural-traumas-of-mexicos-most-infamous-atroicities/.
13 Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory (Stanford: Stanford University Press, 2003), 28, 4.
14 See again Castells’ Networks for more on the roles that community and what he calls “togetherness” play to spark political change.
15 Lisa Kresge, Indigenous Oaxacan Communities in California: An Overview (Davis: California Institute for Rural Studies, 2007).
16 “The challenge of being in the same present, of synchronizing difference and articulating cosmopolitan hope upward from below rather than imposing it downward from on high[…].” Paul Gilroy, Postcolonial Melancholia (New York: Columbia University Press, 2005), 67.
Before a Justice for All march in Washington DC, December 2014. Photograph by Elvert Barnes, via Flickr.
Maricela Becerra is a Ph.D. student in the department of Spanish and Portuguese at University of California, Los Angeles. Her research focuses on the post-memories of the Tlatelolco massacre in contemporary Mexican authors, and the exchanges between the Chicano student movement in Los Angeles and the Mexican student activists in 1968.
Lucy Seena K. Lin is a master’s student in Urban and Regional Planning at University of California, Los Angeles. Her research examines cultural production in everyday practice and in building resilience and vitality of communities.
Gus Wendel is pursuing a master’s degree in urban and regional planning at University of California, Los Angeles. He is interested in the ways that visual culture informs planning and design, the politics of place and space, and urban planning history.