This essay reviews two theoretical books on neoliberalism written by Mexican cultural critics: Capitalismo gore (Gore Capitalism), by Sayak Valencia, published originally in Spanish in 2010 and translated into English in 2018, and La tiranía del sentido común (The Tyranny of Common Sense) by Irmgard Emmelhainz, published in Spanish in 2016 and yet to be translated into English. These works are pioneering in their discussion of the correlation between neoliberalism, subjectivity, and culture in Mexico, and they have become widely influential in broader discussions of art, visual culture, literature, and cultural production. They add to the work of economic and political historians, such as Fernando Escalante Gonzalbo and María Eugenia Romero Sotelo, by connecting landmark moments in neoliberalization (from the financialization of the global economy in the 1970s to the War on Drugs in the 2000s) to changing paradigms in art. Author Ignacio M. Sánchez Prado contextualizes both books within larger discussions of Mexican cultural neoliberalism and describes the theoretical frame works through which both authors read Mexican politics, art, and popular culture. In Valencia's case, Sánchez Prado discusses her idea of “gore capitalism”: a framework for understanding how neoliberalism relies on dynamics of the shadow economy and on the subjectification of gore (what Valencia calls endriago subjectivity) to function at the social and artistic levels. In the case of Emmelhainz, Sánchez Prado engages with the author's idea of semiocapitalism, a term borrowed from theorist Franco “Bifo” Berardi, which Emmelhainz deploys to account for the interrelation between culture and capital in the era of neoliberalism. As such, Sánchez Prado argues, Emmelhainz and Valencia provide ways of reading artistic and visual production, including museum curatorship and narcocultura, in ways that show their organic relationship to neoliberal economic and political reforms.

中文翻译：

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墨西哥文化理论中的新自由主义

本文回顾了墨西哥文化评论家撰写的两本关于新自由主义的理论书籍：《资本主义》（戈尔资本主义），由萨亚克•瓦伦西亚（Sayak Valencia）出版，2010年最初以西班牙语出版，2018年翻译成英文；《 Latiraníadel sentidocomún》 ），由Irmgard Emmelhainz撰写，于2016年以西班牙语出版，但尚未翻译成英文。这些作品在讨论墨西哥的新自由主义，主观性与文化之间的相关性方面是开创性的，并且在艺术，视觉文化，文学和文化生产的广泛讨论中也具有广泛的影响力。它们增加了经济和政治历史学家的工作，例如费尔南多·埃斯卡兰特·冈萨博和玛丽亚·尤金尼亚·罗梅罗·索特洛，通过将新自由主义的标志性时刻（从1970年代的全球经济金融化到2000年代的毒品战争）与不断变化的艺术范式联系起来。作家伊格纳西奥·桑切斯·普拉多（Ignacio M.SánchezPrado）在对墨西哥文化新自由主义的更大讨论中将这两本书进行了语境化，并描述了两位作者阅读墨西哥政治，艺术和大众文化的理论框架。在瓦伦西亚的案例中，桑切斯·普拉多（SánchezPrado）讨论了她的“戈尔资本主义”的概念：一个理解新自由主义如何依赖影子经济动力和戈尔的主体化（瓦伦西亚称之为内德里亚戈主体性）在社会和艺术层面发挥作用的框架。就Emmelhainz而言，桑切斯·普拉多（SánchezPrado）参与了作者的半资本主义思想，这个词是从理论家佛朗哥（Franco“ Bifo” Berardi）借来的，在新自由主义时代，埃默尔海恩茨（Emmelhainz）部署了这一系统来解释文化与资本之间的相互关系。因此，桑切斯·普拉多（SánchezPrado）辩称，埃默尔海恩茨（Emmelhainz）和巴伦西亚（Valencia）提供了阅读艺术和视觉作品的方式，包括博物馆馆长和麻醉师，以表明它们与新自由主义经济和政治改革的有机关系。