List of selected artworks. Maps for the tour in the museum



Ch'uch' (Do Not Mention the Name of the Bejao Leaf When You Make Tamales)

  • Series: 
    Creencias (Beliefs)
  • Date: 
  • Technique: 
    Gelatin silver print on paper
  • Dimensions: 
    Image: 15,6 x 26,5 cm
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  • Category: 
  • Entry date: 
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Ch'uch' Ak'alal chbat j k'okbetik tal spix patz'e mu xtun jbiiltastik, mi la jbiiltastike mu xta'aj li patz'e; sepkantik tze sepkantik tok'on.
When the bejao leaf is cut to make tamales, it is not good to mention its name because then the tamales do not cook well; some pieces come out cooked and others raw.

The Chiapas Photography Project, an initiative by the American-born Carlota Duarte and in collaboration with Sna Jtz’ibajom (The House of the Writer) in San Cristóbal de las Casas, enabled indigenous artists like Maruch Sántiz Gómez to employ photography as a means of creative expression. Sántiz Gómez’s first project, Creencias de nuestros antepasados (The Beliefs of Our Ancestors), which she started in 1994, seeks to document and compile the traditions of the Tzotzil people, traditions which the elders have endeavoured to pass on and the younger generations are losing. Consequently, Sántiz Gómez travelled to different locations in Chiapas to talk with the eldest inhabitants, and, subsequently, via images first in black-and-white and later in colour, she used a minimalist aesthetic to photograph the objects and animals these beliefs referred to and also recreated their family environment. The photographs are accompanied by a text in Tzotzil with translations in Spanish and English, thus prompting the consideration that both elements are consubstantial and inseparable from the project Beliefs, which is why some critics have placed Sántiz Gómez’s work within the parameters of the conceptual, as well as pointing to her ability to update visual and oral traditions by virtue of photography and iconography. Despite a favourable reception, Beliefs has also given rise to debates around indigenous art in Mexico and its idealisation among critics.

Diego Fraile Gómez