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    Manifiesto estridentista / Manuel Maples Arce... [et al.]
    Puebla, México : Ediciones de Horizonte, 1923
    1 leaf
    Loose leaf – Manifestoes
    Maples Arce, Manuel et al. Manifiesto estridentista. Puebla: Ediciones de Horizonte, 1923. Francisco Reyes Palma archive, Mexico City.

This is the second manifesto made public by a new estridentista front located in the city of Puebla. This manifesto makes fun of the local literary glories, but especially of the patriotic values with such deep roots in that city, such as the hero of May 5 who mounted a defense against Napoleon’s troops: “Caguémonos en la estatua del Gral. Zaragoza, brabucón insolente de zarzuela . . . encaramado sobre el pedestal de la ignorancia colectiva”. [Fuck the statue of General Zaragoza, insolent zarzuela braggart . . . perched on top of the pedestal of collective ignorance.] The proclamation ended with an ironic outcry for national affirmation in order to receive the New Year of 1923: “¡Viva el mole de guajolote!” [“Hail the turkey mole!”].


The most active sector of estridentismo thrived in Puebla, although a provincial and extremely conservative city. Germán List Arzubide (1898-1998), an artist with a militant trajectory, associated with the Communist Party, turned into the most successful ally of Manuel Maples Arce (1898-1981), the founding father of the movement. Additional signers of the manifesto were: Germán List Arzubide, Salvador Gallardo, and two hundred ghost signatories.

Estridentismo was an early Mexican avant-garde movement, which arose in 1921, parallel to the muralist movement. Its creator and for a time only member was Manuel Maples Arce (1898-1981), a poet from Veracruz who rebelled against modernist poets and academic painting. Related to Dadaism, Futurism, Ultraism, and Creationism—in both its European and Latin American manifestations—Estridentismo was a movement centered on strategies to create disturbance and closely devoted to mechanical aesthetics. The followers of the movement tended toward new urban sensory values in which experiences accumulated simultaneously, at the rhythm and speed of modern life. The very name of the movement refers to city noise, as well as their wish to be heard for its embedded transgressions and excesses.

It was a movement of artists devoted to literature, music, painting, engraving, photography, and sculpture. The movement’s center of operations was El Café de Nadie in Mexico City. Later on, it split to the city of Xalapa (Veracruz) where its members became involved in the educational revolution. It had several media outlets such as the magazines: Ser, Irradiador, and Horizonte.

Francisco Reyes Palma : CURARE A.C.
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Archivo Francisco Reyes Palma