The creation of Fonca is related to the creation of the National Council for Culture and the Arts (Conaculta) during the administration of President Carlos Salinas de Gortari. The National Fund for Culture and the Arts was founded on March 2, 1989 as an instance of support to artists by the Federal Government in view of the idea that the State should guarantee full freedom to creators, as a response to the artistic community interested in fostering independent work and to meet the needs of transforming the Mexican cultural panorama. It is the financial mechanism of Conaculta, which is the financial mechanism of the National Council for Culture and the Arts (CONACULTURA).
It is the financial mechanism of Conaculta, who administers and controls the contributions given by the State and civil society; it also seeks to unify the efforts of the State, civil society and the artistic community around the creation of stimuli for artistic creations. Its mission is to support the creation and artistic production of quality that operates under the premises of democratic participation and equal opportunities.
Young creators 2021
The usual question is how to achieve the middle ground: that there is a plan, and that it is weighted. In short, that a serious expository strategy is achieved; and this is the aspect that charges the provinces with a share of responsibility in this operation of taking the part for the whole, and that this undermining is considered as part of the nature of things.
(Transcribed from the magazine “Hablar de Poesía N°16”, published by Grupo Editor Latinoamericano, directed by Ricardo Herrera. It is published with the express authorization of the editor and the author of the essay).
National Fund for the Arts winners 2021
LFN: All the exhibitions were at the Borges Cultural Center. Roger Haloua had agreed to do it that way. Then, when that project was finished, some time passed and he proposed me to do another project, but I told him: “Well, but it has to be much less expensive”. Then I proposed a drawing project, but I immediately told him that I didn’t want to direct it alone, I had the experience that it was good to direct with someone else. So I suggested Eduardo’s name. Regarding the catalog, they told me that they would subsidize the catalog, but as in every subsidy they would ask each artist to leave a drawing. The point is that that’s how The Line Thinking began.
LFN: The Line Thinking was called. We did it at the San Telmo Foundation and there was no prize. I made a selection. In fact, I proposed the idea to the person in charge of the San Telmo Foundation, Lopez Anaya, and why? because we had been jurors in a prize you won, Eduardo, at the Museum of Modern Art.
LFN: The winner was Eduardo, the first prize. But there we realized that there was a tired drawing in the salon, very similar to what they send to the National Salon, with a lot of…, as I say “sacapunteros”, with a lot of pencil sharpeners, shadows and those things. And what interested us was the vindication of the line. And that’s exactly what we talked about and that’s why it was called that way, the three of us coincided and the idea that I proposed came, to make that exhibition. So, La línea piensa is a readaptation of El Pensamiento lineal.
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The characters reflect situations and experiences common to the viewer: his portraits force the subject to look away from everything around him. Teves portrays those close to him, such as family, friends and neighbors. The sum of these images exceeds the autobiographical reference to one’s own living environment.
“In the case of portraiture, in Ramón’s work there is still a close relationship to the autobiographical. Whether individual or group, the portraits show a reality that invites us to inquire or wonder about the illusory universe that lies behind the supposed real and the characterized or the relationships that exist between these people and the visible objects. Physical spaces, kinship, family or religious reunion rituals, social classes, all these are elements that appear in Ramón’s work from the beginning as a primary trace of identity conformation, as self-recognition and affirmation of the self in the nearby universe”, Jerónimo Sáenz Landaburu.