The Pattern of Artistic Nationalism: Mexico's Pavilion at the Venice Biennale in the 1950s

− Abstract

Mexico’s Pavilion at the Venice Biennale first exhibited in 1950, followed by another in 1952 and a final iteration in 1958. These three national pavilions showcased the canon of modern Mexican art, emphasising Figuration and Realism through painting and engraving. These artistic trends were strongly supported and promoted by the Mexican government, which sought to officially represent the nation through the most prominent artists of the Post-revolutionary Artistic Movement. 

This text also discusses the Biennale’s relaunch in 1948, the exhibition’s goals, and the significance of the invitation extended to Mexico by the Biennale Organising Committee. The active collaboration between Mexico’s cultural representatives and Italian organisers was crucial in realising Mexico’s initial exhibitions. From the outset of Mexico’s first participation, there was close collaboration between Fernando Gamboa, the commissioner responsible for Mexico’s Pavilion, and Rodolfo Pallucchini, the General Secretary of Biennale. Noteworthily, the role of these cultural agents was crucial in ensuring the success of Mexico’s initial exhibitions at the Venice Biennale. Gamboa played a key role in the selection and exhibition of the Mexican works; while Pallucchini, as part of the Organising Committee, was instrumental in driving the Biennale’s structural and conceptual renewal in the post-War period.