Desconcertante, lista a inquietar a la crítica, está ya en los escaparates la primera novela de Juan Rulfo, Pedro Páramo, que transcurre en una serie de transposiciones oníricas, ahondando más allá de la muerte de sus personajes, que uno no sabe en qué momento son sueño, vida, fábula, verdad, pero a los que se les oye la voz al través de la 'perspicacia despiadada y certera' de tan sin duda extraordinario escritor. Con estas palabras iniciaba Edmundo Valadés la primera reseña de Pedro Páramo, aparecida el 30 de marzo de 1955 y conservada por Rulfo entre sus papeles. Desde entonces, escritores como Jorge Luis Borges, Gabriel García Márquez, Gunter Grass, Susan Sontag y Mario Vargas Llosa, o el cineasta Werner Herzog, entre muchos más de cualquier lengua, coinciden en calificar esta novela como una de las obras maestras de la literatura de todos los tiempos.

The work of Juan Rulfo (1917-1986) is doubtless the Mexican literary creation which has received the greatest acclaim both in Mexico and abroad. The novel Pedro Páramo underwent a long gestation. Rulfo mentioned it for the first time in a letter in 1947, and was able to work on it in 1953-1954 thanks to a grant from the Centro Mexicano de Escritores. Excerpts were published in three maga¬zines in 1954, before the novel appeared in book form in 1955. This masterpiece has numbered Gabriel García Márquez, Jorge Luis Borges, and Susan Sontag among its admirers. Pedro Páramo evokes the very essence of Mexico through the most advanced literary forms and techniques of the twentieth century. Few works affect a Mexican reader as deeply as this novel, which also holds a place as a classic of world literature. It has been translated into almost fifty languages and new versions appear every year.

Between mysticism and modernity: the magical surrealism of Remedios Varo

Remedios Varo: The Mexican Years offers a definitive survey of the life and work of a singularly appealing and mysterious Surrealist painter. Born and raised in Spain, Remedios Varo received her earliest training in Madrid before fleeing the Spanish Civil War in 1937 to join Surrealist circles in Paris. The outbreak of World War II forced her to take refuge in Mexico, where she remained until her untimely death in 1963, and where she created her most enduring work. Known as one of the three brujas (witches) active in the Mexico City art milieu, Varo shared an interest in esotericism with fellow painter Leonora Carrington and a range of interests in science, philosophy and the literature of German Romanticism with the photographer Kati Horna. For some ten years, from the mid-1950s until her death in 1963, Varo devoted herself to creating an extraordinary dreamlike oeuvre, on the threshold between mysticism and modernity. Her beautifully crafted images of medieval interiors, occult workshops and androgynous figures engaged in alchemical pursuits evoke the eerie allegories of Hieronymus Bosch, esoteric engravings and the charm and lure of fairytales. This catalogue includes a complete illustrated chronology with never before published images and describes Varo's role in the Mexican Surrealist movement and her relations with Luis Buñuel, Octavio Paz, Benjamin Péret, Alice Rahon, Wolfgang Paalen and many others.

Remedios Varo (1908-1963) fled the Spanish Civil War and then World War II to settle in Mexico where she helped establish a Mexican Surrealist movement and painted visions that combined modernism with mysticism. She was married to the leading French Surrealist Benjamin Péret.

The first overview in a decade of the dazzling Surrealist universe of Leonora Carrington--artist, author, occultist, feminist

In recent years, the art and fiction of Surrealist painter and author Leonora Carrington have received much mainstream recognition, but--until now--there has been no authoritative overview of her work. Divided into 10 sections, Revelation introduces Carrington's singular artistic universe, displaying an extensive array of her wide-ranging creations (including paintings, drawings and tapestries) and fusing a chronological narrative of her life with a study of the most prominent themes in her work--from her training and early influences in England and Florence to her contact with the Surrealists in Paris, through her time in Saint-Martin-d'Ardèche, her traumatic experiences in Spain, her immigration to New York and her new homeland in Mexico. Punctuating the reproductions are archival materials, book excerpts and documentary photographs.
Leonora Carrington (1917-2011) was a British-born artist, Surrealist painter and novelist, famed for her narrative scenes inhabited by mystical figures participating in curious rituals. After fleeing Europe during World War II, she lived most of her adult life in Mexico City, where she was a founding member of the women's liberation movement.

The fullness with which Kahlo lived her life is seen best here, and her love for rich experience is reflected back at the reader, full of personality and vitality

When Frida Kahlo (1907-1954) died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House, into a museum. Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.

La encuesta del Instituto Nobel de Suecia, de 2002, dirigida a un centenar de escritores y estudiosos de todo el mundo, ubicó a Pedro Páramo entre las cien obras que constituyen el núcleo del patrimonio universal de la literatura.

This collection contains 17 stories published by Rulfo beginning in 1945, when Nos han dado la tierra appeared in the literary reviews América and Pan. Rulfo described the progress of his work in letters to his fiancée Clara Aparicio. In 1951 he published a seventh story in América, Diles que no me maten (which Elias Canetti considered one of the finest stories ever written and Günter Grass admired as well). Thanks to a first grant from the Centro Mexicano de Escritores, Rulfo was able to finish eight more stories, which appeared with those already published under the general title of El Llano en llamas (The Burning Plain), also the name of one of the stories in the volume. The book was dedicated to Clara.

A vulnerable portrait of the Mexican author, as unveiled through letters penned to his beloved

In January 1945 the Mexican writer, screenwriter and photographer Juan Rulfo (1917-86) wrote: I don't know what is going on inside me, but every moment I feel that there is something great and noble to fight for and to live for. That something great, for me, is you. This profound declaration of devotion is a snippet from a love letter addressed to his girlfriend, and eventual wife, Clara Aparicio.
Cartas a Clara compiles a series of letters Rulfo penned to his beloved, granting the reader access to the dreams, feelings, concerns, desires and personality of one of the great writers of the 20th century. The volume encourages readers to embrace the miracles of literature: intensity and lucidity, imagination and perfect form, subtle irony and depth. Illustrated with black-and-white archival photographs of Rulfo and Aparicio, it also elucidates the customs of postwar Mexican society and the shifts it underwent upon the arrival of foreign investment. Essayist and poet Alberto Vital pens a reverent foreword, painting a touching portrait of one of the last novelists of the Mexican Revolution.

Con motivo del centenario del nacimiento de Juan Rulfo, Editorial RM publicó una edición especial en caja de las obras de Rulfo, diseñada con los colores de la bandera mexicana. En ella se incluyen las versiones definitivas de El Llano en Llamas, Pedro Páramo y El Gallo de Oro y otros relatos, avaladas por la Fundación Rulfo.

On the occasion of the centenary of the birth of Juan Rulfo, Editorial RM published a special boxed edition of Rulfo's works, designed with the colors of the Mexican flag. It includes the definitive versions of El Llano en Llamas, Pedro Páramo and El Gallo de Oro y otros relatos, endorsed by the Rulfo Foundation.

Seventeen short stories by Juan Rulfo, including Diles que no me maten

La presente edición limitada conmemora el 70 aniversario de la publicación de la obra de Juan Rulfo. Contiene el texto definitivo de El Llano en llamas así como la primera versión del cuento, una edición facsimilar aparecida en 1950 en la revista América. Esta cuidada edición incluye una separata a color con la reproducción de las portadas de diversas traducciones del libro a diferentes lenguas. Impreso el 18 de septiembre de 1953, el libro El Llano en llamas toma el título del cuento más extenso de los diecisiete que contiene. El rasgo común de estas narraciones, como en las dos novelas posteriores de Juan Rulfo, se encuentra en los sólidos personajes que protagonizan sus acciones y palabras. El Llano en llamas es hoy un clásico de la literatura mexicana e hispanoamericana, y probablemente uno de los volúmenes de cuentos más traducido a otros idiomas en el mundo entero. Obra aparentemente sencilla resulta, sin embargo, profundamente desconcertante e incluye algunas de las imágenes más elocuentes que se hayan leído en la literatura. Imprescindible para cualquier admirador de las letras hispanas.
This special edition of El llano en llamas commemorates the 70th anniversary of its publication. It contains the definitive text of the titular short story together with its first version, originally published in 1950. All in all, this book contains 17 stories published by Rulfo beginning in 1945, when Nos han dado la tierra appeared in the literary reviews América and Pan. Rulfo described the progress of his work in letters to his fiancée, Clara Aparicio. In 1951 he published a seventh story in América, Diles que no me maten (which Elias Canetti considered one of the finest stories ever written and Günter Grass admired as well). Thanks to a first grant from the Centro Mexicano de Escritores, Rulfo was able to finish eight more stories, which appeared with those already published under the general title of El llano en llamas (The Burning Plain). The book was dedicated to Clara.

The iconic Mexican painter as seen through almost 300 archival items, from her wardrobe to her personal art collection

This compendium presents the rich diversity of themes, ideas, concepts and emotions generated around two fundamental, iconic figures of modern Mexico: painter Frida Kahlo and her husband, muralist Diego Rivera.
More than 300 images from the archives of the Museo Frida Kahlo in Mexico City offer readers a glimpse of Kahlo's distinctive wardrobe and the impressive collections of popular and pre-Hispanic art she assembled with Rivera, her connection with photography and the history of La casa azul, her beloved blue home that now serves as the museum's main building. This volume welcomes us into Frida Kahlo's universe, exploring the legacy of an indispensable figure in the world of 20th-century art and culture in her native Mexico and across the globe.
Frida Kahlo (1907-54) began painting at the age of 18 when she was immobilized for several months as a result of a bus crash that left her permanently disabled. From then on, art served as an immense source of healing for Kahlo as well as a vehicle for self-expression and cultural exploration. At the heart of Kahlo's practice was her love for Mexican folk tradition, her staunch communist beliefs and her complex relationship with her body, gender and sexuality. A lifelong activist, Kahlo died of a pulmonary embolism after participating in a demonstration against the CIA's invasion of Guatemala.

A pocket-size collective portrayal of Mexican women in found photographs, from the era of the daguerreotype to the 1960s

This pocket-size volume presents an entrancing selection of studio and vernacular photographs of Mexican women from the mid-19th century to the 1960s. Through the careful editing of photographer Pablo Ortiz Monasterio, the sequence of images coalesces into a narrative of women's empowerment. As photographic technology advances in the book--transitioning from daguerreotypes to color film--so too do the rights of the women pictured, who become increasingly mobile, expressive and exposed. Yet, regardless of the era they belong to, all of the women appear intensely alive, emboldened by their position before the camera.
Las Mexicanas underscores the intimate and powerful relationship between the photographic medium, women and those who were fortunate to have a camera in their hands. Many of the images in this edition originate from a private collection, accumulated over a decade of visits to the flea markets of Mexico City, with the assistance of connoisseurs and support from booksellers and merchants. This particularity gives the volume a unique value, attracting an audience interested not only in antique photography and collectibles, but also in social sciences, feminism and cultural representations. Contextualizing these captivating images is an essay by author, sociologist and economist Brenda Navarro, author of the award-winning novels Empty Houses and Ash in the Mouth. A work that transcends time and space, Las Mexicanas celebrates the strength and diversity of Mexican women across generations, and serves as an essential item for those seeking to appreciate the richness of Mexico's history and culture.

Blending documentary and conceptual photography, de Middel's account of migrants traveling to California brings the plight of immigration into harsh relief

Cristina de Middel (born 1975), the first Spanish head of Magnum Photos, has been traveling for years with Mexican migrants on the train they call the beast interviewing sicarios (hired killers) and talking for hours with coyotes (clandestine smugglers) and police officers. She combines her own photographs with objects found in the desert and archival footage, creating a multi-layered narrative that evokes the hardships and dangers of searching for a better life. The journey begins in Tapachula, a city on the southern border of Mexico with Guatemala, and ends in Felicity, a small town in California dubbed the Center of the World. This saga is punctuated by the accounts of three migrants recounting their crossing, as well as a commentary by the artist. An afterword by Mexican journalist Pedro Anza illuminates the issues at stake and the human consequences of the United States' obsession with closing its borders.

An edifying immersion into Vicuña's creative wellspring as well as her decolonization and ecofeminist ideals

Beautifully designed, with a special reverence for her humanitarian heart, Dreaming Water is the most thorough monograph dedicated to the work of Chilean artist Cecilia Vicuña to date. Vicuña coined the term Arte Precario in the mid-1960s as a new category for her works composed of debris and structures that disappear in the landscape, and which also include her quipus (knot in Quechua), envisioned as poems in space. Dreaming Water brings together over 200 works--including paintings, drawings, screenprints, collages, textiles, videos, photographs, installations, poetry, artist books and performances--created throughout the artist's remarkable career. It also features several stimulating texts--a lengthy epistolary piece by curator and editor Miguel A. López as well as new essays by anthropologist Elizabeth A. Povinelli, curator Catherine de Zegher and art historian José de Nordenflycht. Vicuña herself contributes two texts, reflecting on her drawings from the Palabrarmas project and the activism of the group Artists for Democracy, which she cofounded in 1974. A rousing conversation between Vicuña, anthropologist Marisol de la Cadena and curator Camila Marambio also figures in the book, blending the artist's voice with those who are experts in fields pertinent to her practice.
Cecilia Vicuña (born 1948) is a poet, artist, activist and filmmaker whose work addresses pressing concerns of the modern world. She was elected a foreign honorary member of the United States Academy of Arts and Letters and also received the Gold Lion for Lifetime Achievement in 2022 at the 59th Venice Biennale.

Dark, surreal scenes hidden in an iconic photographic archive of Depression-era America

Drawing from approximately 40,000 works of the Farm Security Administration Photographic Archive (1935-42) housed at the New York Public Library, Omen reviews and reframes this landmark project of modern American documentary photography. The monumental project features works by storied photographers such as Russell Lee, Dorothea Lange, Ben Shahn, Walker Evans, Carl Mydans, Arthur Rothstein, Gordon Parks and Jack Delano. Many of the more iconic images that arose from this initiative were instrumental in constructing a hegemonic narrative of triumph against adversity in Depression-era America. In scrutinizing the backgrounds and secondary characters of some lesser-known photographs, however, a more turbulent story emerges.
Omen is co-edited by Mexican artists León Muñoz Santini and Jorge Panchoaga, providing a fresh perspective on this quintessentially American study. The image sequence amplifies the eerie details in enlarged, stark black-and-white images, creatively cropped and abutted together to form insidious connections. These hidden stories are premonitions of the visible and invisible specters of systemic injustice that characterize American society, their cycles renewing with each successive generation. Thus, Omen at once serves as a mirror for the anguished reality of today, and as a device for reflection on how historical and documentary photography is read and understood: taking the editorial gaze to its ultimate consequences. The book includes a narrative text by novelist and poet Lucy Ives.

A partir de la aparición de Pedro Páramo, Rulfo escribe su segunda novela, El gallo de oro. Ambientada en el mundo de las peleas de gallos y concebida como proyecto cinematográfico, probablemente se trate de la obra menos conocida del autor mexicano. No obstante ese desconocimiento, la valoración literaria está al mismo nivel que Pedro Páramo y Llano en Llamas.

From the appearance of Pedro Páramo, Rulfo writes his second novel, El gallo de oro. Set in the world of cockfighting and conceived as a film project, it is probably the lesser-known work of the Mexican author. Despite this ignorance, the literary valuation is at the same level as Pedro Páramo and Llano en Llamas. On the occasion of the centenary of the birth of Juan Rulfo, RM publishes a special edition of El gallo de oro to which other stories that complement it are incorporated. The film script of The secret formula, two early stories by Juan Rulfo: Life is not very serious in its things and A piece of night, and also the one entitled Castillo de Teayo. Also included is a letter from Rulfo to his wife, Clara Aparicio, in which Rulfo makes a harsh reflection on the nature of a heartless economic system. Finally, the reader will find nine texts that originally appeared in the collection of texts Los cuadernos de Juan Rulfo, an edition that is out of print.

Iturbide revisits the predominantly Mexican American community of Boyle Heights in East Los Angeles, home of the legendary White Fence gang

Under the gaze of famed Mexican photographer Graciela Iturbide, this project vividly portrays the lives of several residents of the Chicano community in Boyle Heights, located in Eastside Los Angeles. The title refers to the historical street gang known as White Fence that has held established territory in Boyle Heights since 1900. They were one of the most violent Eastside gangs of the 20th century and among the first to use weapons.
Starting with the photographs that Iturbide took in 1986 on assignment for the magazine A Day in the Life of America and culminating in a reunion in 2019, this publication is divided into two volumes, housed in a slipcase. The first book presents the series of images captured in 1986, 1989, 2018 and 2019. The second volume includes the essay White Fence Revisited by Alfonso Morales Carrillo describing both the development of this photographic series and the historic background it ultimately conveys: the formation and persistence of communities of Mexican descent north of the Rio Grande. White Fence is an emotional visual journey through decades of history: an intimate exploration of identity that connects the past and present of this fascinating community in Los Angeles.
Graciela Iturbide was born in 1942 in Mexico City. Her photographic documentation of Indigenous tribes of Mexico resulted in the publication of her book Juchitán de las Mujeres in 1989. Between 1980 and 2000, Iturbide continued to gain international recognition and was invited to work in various places, including Cuba, East Germany, India, Madagascar, Hungary, France and the United States.

Originally published in 1930, Posada: Monograf a is a facsimile edition of the first monograph of the great Mexican illustrator and engraver Jos Guadalupe Posada (1852-1913). Reprinted to coincide with the 100th anniversary of his death, reproduces more than 400 of the most iconic prints from Posada's vast output, collected by Pablo O'Higgins from those that could be located and identified at the time. Posada and Manuel Manilla--a talented engraver who greatly influenced Posada--were the two artists of their day who best interpreted the lives and social attitudes of Mexican people. Posada, in particular, is in the great tradition of illustrators who double as political and social commentators (a tradition that also includes Aubrey Beardsley and Honor Daumier). The images of the high-spirited, at times macabre broadsheets reproduced in Posada: Monograf a include the famous calaveras, or skeleton creatures, along with illustrations for songs, corridos (traditional ballads) and religious prayers. The skeletons in the barrios were a metaphor for a corrupt society; Posada supplemented his black humor with lampoons of venal politicians, and, not surprisingly, was jailed on several occasions for his transgressions. With their striking visual qualities, his ingenious images did much to enrich the tradition of the popular Mexican print. Posada: Monograf a also includes an introduction by Frances Toor, the legendary editor of Mexican Folkways magazine, and an essay by Diego Rivera.

Tender and bittersweet photographs document the final week of the photographer's mother's life

My mother rarely let me photograph her except in the last week of her life when she changed her mind, says Ruth Lauer Manenti (born 1968) of her first photobook. I Imagined It Empty is a contemplation of life after death, suggesting the idea that houses can hold people's spirits.

A comprehensive survey for an installation artist whose interactive works are centered on optical illusion and a subversion of the everyday

Argentinian conceptual artist Leandro Erlich (born 1973) makes large-scale installations often containing immersive or interactive elements. He uses visual paradoxes and absurd optical illusions to subvert everyday scenarios, forcing viewers to challenge their perception of reality. This is a comprehensive survey of his work.

Este libro recoge las obras fundamentales de Juan Rulfo: la colección de cuentos de El Llano en llamas (1953), la novela Pedro Páramo (1955) y El gallo de oro (1958). Esta edición apareció al cumplirse cien años del nacimiento de Rulfo y ya desvinculada de esa efeméride, reaparece en esta nueva presentación en tapa rústica. La obra de Juan Rulfo ha sido elogiada por autores del mayor prestigio internacional, entre los que cabe destacar a José María Arguedas, Gabriel García Márquez, Jorge Luis Borges, Günter Grass, Susan Sontag, Elias Canetti o Mario Vargas Llosa. Se trata de los textos definitivos de las obras establecidos por la Fundación Juan Rulfo.

This book collects the fundamental works of Juan Rulfo: the collection of short stories of El Llano en llamas (1953), the novel Pedro Páramo (1955) and El gallo de oro (1958). This edition appeared on the hundredth anniversary of the birth of Rulfo and already detached from that anniversary, reappears in this new presentation in paperback. The work of Juan Rulfo has been praised by authors of the greatest international prestige, among which it is worth mentioning José María Arguedas, Gabriel García Márquez, Jorge Luis Borges, Günter Grass, Susan Sontag, Elias Canetti or Mario Vargas Llosa. These are the definitive texts of the works established by the Juan Rulfo Foundation.

A colossal trove of the countless design gems and innovations of modern publishing in Latin America

This massive publication offers the first comprehensive panorama of the Latin American illustrated book between the 1920s and 1940s, a period characterized by the rapid modernization of the region. The books reproduced here encapsulate this transformative era, expressing and embodying emergent national and continental narratives in Latin American countries.
Diagramming Modernity reproduces more than 1,000 illustrated first editions, analyzing the cornucopia of cultural narratives they contain. In addition to showcasing relatively unknown work by many consecrated artists, the publication also boasts an extensive repertoire of avant-garde artists largely forgotten until today. Chapters are devoted to countries and to specific themes such as Word-Image, Verbal Visualities, Pre-Columbianisms and Ancestralisms, and Social and Political Graphics. Writers and thinkers Rodrigo Gutiérrez Viñuales, Riccardo Boglione, Juan Manuel Bonet, Mariana Garone Gravier and Dafne Cruz Porchini conscientiously investigate these themes and more.