Migración, comodificación, memoria: el caso insólito de Martín Ramírez
¿Cómo interpretar la obra cultural desde la problemática de la memoria por una semiótica visual casi pura? Esta pregunta se explora a través de un análisis de la obra de Martín Ramírez (1895-1963), quien emigró de México a California en 1925. Se trata del caso excepcional de un artista visual de un estatus extremadamente marginado (hombre semialfabeto, desempleado, indigente, inmigrante indocumentado, marcadamente alienado, internado como enfermo mental durante la mitad de su vida), el que no dejó ninguna huella directa de expresión verbal. El caso de Martín Ramírez no es el de un inmigrante que lucha y triunfa; casi terminó como muchas historias desconocidas de migraciones violentamente truncadas, en el olvido –pero lo salvó su comodificación. No obstante su marginalidad y su silencio, unas 450 obras suyas, elaboradas en el manicomio DeWitt State Hospital en Auburn, California, se guardaron y nos ofrecen a través de varias capas densas de recepción crítica, una expresión de la memoria de la emigración mexicana de las primeras décadas posrevolucionarias mexicanas.
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