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  • ICAA Record ID
    1141443
    AUTHOR
    Barrig, Maruja, 1948-
    TITLE
    Jesús Ruiz Durand : la pintura es un arte caduco / por Maruja Barrig
    IN
    La Crónica (Lima, Perú). -- Jun. 25, 1975
    DESCRIPTION
    p. 53-56 : ill.
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Newspaper article – Essays
    BIBLIOGRAPHIC CITATION
    Barrig, Maruja. "Jesús Ruiz Durand: la pintura es un arte caduco." La Crónica (Lima, Perú), June 25, 1975, 53-56.
    TOPIC DESCRIPTORS
Synopsis

This lengthy statement by Jesús Ruiz Durand was obtained by the sociologist and journalist Maruja Barrig. The graphic artist provides autobiographical information and discusses his various educational and professional periods. He describes his time at SINAMOS (Sistema Nacional de Apoyo a la Movilización Social), the propaganda arm of General Juan Velasco Alvarado’s military government and its self-styled Peruvian Revolution (1968–75). Ruiz Durand thinks the political use of graphic arts for the agrarian reform—inspired mainly by the use of posters in Cuba—was a truncated process. In his opinion art, the form for creative production, and the social mechanism surrounding governmental intentions are all “outdated” because of a mythology that was “introduced to justify and support the system.” Ruiz Durand, however, suggests a review of “a number of values” that would encourage the ability “to visualize an increasingly defiant ballooning of creativity.”

Annotations

Jesús Ruiz Durand (b. 1940) was the main creator of the emblems and posters designed to announce the cultural, political, and social reforms initiated by the self-styled Peruvian Revolution, during its first phase (1968–75) under the leadership of General Juan Velasco Alvarado. As part of SINAMOS (Sistema Nacional de Apoyo a la Movilización Social), Ruiz Durand transformed the figure of the native chieftain Túpac Amaru II into a symbol that became an icon for the regime. Some years later, in 1984, Ruiz Durand used the term “pop-achorado” for the first time to refer to the aesthetic that combines cosmopolitan avant-garde ideas inspired by Op Art and Pop Art with national subjects and motifs [on that subject, see in the ICAA digital archive by Ruiz Durand “Afiches de la Reforma Agraria: otra experiencia trunca” (doc. no. 1139386)]. This interview took place in a very important year, since the military regime of Velasco was brought down by the treacherous coup led by General Francisco Morales Bermúdez, the president of the Ministers’ Council. [See also by Ruiz Durand “En la cultura: Ruiz Durand responde a la Casa de la Cultura” (doc. no. 1141409)].

Researcher
Daniel Contreras Medina
Team
Museo de Arte de Lima, Lima, Peru