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The year 2020 meant the start of the XIV edition of the biennial, and, at the same time, the emergence of a virus that placed the whole world in isolation, so this review is written from confinement: it presents a perspective from the digitality of the event through the official account of the biennial’s official Inst*gram account, its newsletter and some personal social network accounts of the participating artists. It’s in this space where artistic discourses intertwine with the different realities of Michoacán. For this edition, Inestimable Azar, they opted for a collaborative model with various institutions and cultural agents from several locations in the state of Michoacán, Mexico, in order to contextually connect the dialogues and works that were generated during the first half of the twentieth century with current local discourses and practices, to then connect with the global contemporary art world, in the same way as with the last edition in the city of Zacatecas.ĭuring the second decade of the 2000s, Michoacán was severely hit by narco-violence, the neglect of federal authorities, the absence of justice, and an increase in femicides, as well as land dispossession and exploitation by the avocado industry. There is no doubt that the XIV FEMSA Biennial was a diverse and complex exercise in which, despite the pandemic circumstances, the region’s sensitivity was manifested through its artists.Īfter thirteen editions, the FEMSA Biennial, in its quest to decentralize artistic practices from large cities, decided to use Michoacán its fourteenth venue.