Abstract:

Ex-votos are the representation of a struggle and also a spiritual practice. Historically, pictorial ex-votos depict an alleged miracle in an iconic manner. When the struggle is migration, “place” is of paramount importance, since these artifacts address distance, places left, new places to be explored, and places where one wishes to be. Usually, we find ex-votos within churches or museums. However, these cultural products have lately come into contact with phenomena such as globalization and diasporic flows, spreading among transnational spaces. As a result, the ways of production and their relation with the viewer have changed, transforming the ex-voto into more than a folk custom. In my study, I focus on pictorial ex-votos, analyzing how they have been studied in relation to the category “art” and what their current place among the definitional debates is. I show how Mexican migration ex-votos can be considered a transnational product that articulates specific discourses of identity. Through theoretical concepts from art history and visual, cultural, border, and migration studies, I demonstrate how ex-votos have transformed as a result of the contemporary flows of people and information we live in and how these pieces of art and material culture create place within migrant communities.

摘要：

前表决权是斗争的代表，也是精神实践的代表。历史上，绘画式的前投票以标志性方式描绘了一个所谓的奇迹。当斗争是迁徙时，“地点”至关重要，因为这些文物涉及距离，剩余地点，要探索的新地点以及一个人希望成为的地点。通常，我们会在教堂或博物馆内找到前投票权。但是，这些文化产品近来已经接触到全球化和流散国外的现象，并在跨国空间中传播。结果，生产方式及其与观众的关系发生了变化，将投票权转变为不仅仅是民俗。在我的研究中，我专注于绘画式的否决权，分析如何针对“艺术”类别对它们进行研究，以及它们在定义性辩论中的当前位置是什么。我将展示如何将墨西哥原住民移民视为一种能够表达特定身份话语的跨国产品。通过艺术史的理论概念以及视觉，文化，边界和移民研究，我展示了现存的人和信息流带来的现代投票权是如何改变的，以及这些艺术和物质文化如何创造场所在移民社区中。