Andrés Manuel López Obrador (b. 1953) is the current president of Mexico (for the period 2018–2024). He has been at the forefront of Mexican politics since 2000, having served as mayor of Mexico City between 2000 and 2005, and making three runs for the presidency in 2006, 2012, and 2018 in which he finally emerged victorious. While his detractors consider him a radical leftist in the mold of Venezuela’s late Hugo Chávez, his supporters praise him as a man of the people who fights to bridge the gap between rich and poor. Political preferences aside, the ascent of López Obrador to the presidency of Mexico needs to be understood first and foremost in the context of the country’s democratic transition. This was a protracted process that started in 1977 and concluded at some point between 1997 and 2000, right about when López arrived on the national political stage. The transition leveled the electoral arena and opened up opportunities for electoral competition that López has been able to capitalize on. Ironically, to this day he refuses to acknowledge the democratic improvements that Mexico experienced during its transition, and which allowed his political ascent in the first place.
Alejandro García Magos
Small islands offer an unexplored vantage point from which the Caribbean can be interpreted anew. The small western Caribbean island of San Andrés can be a privileged site to launch this reinterpretation that shifts attention away from the dominant narrative of Caribbean history that centers on the establishment, development, destruction, and legacies of plantation societies. Comparing and connecting San Andrés with other small and historiographically neglected Caribbean islands makes possible an interpretation that highlights three ways in which these islands played a central role in Caribbean history: as dynamic commercial hubs, as pirates’ nests, and as imperial laboratories.
Gallica, the digital library of the Bibliothèque Nationale de France, was launched in 1997. The library contains almost five million documents (manuscripts, books, journals, newspapers, maps, iconographic documents, and recordings), many of which are connected to Latin America, offering rich perspectives on the relationships between France and Latin American countries across the centuries. The many travel narratives, testimonies, essays, photographs, and maps available provide rich insight into French perception of Latin America from the early 16th century to the mid-20th century. Although Gallica’s collection of manuscripts on Latin America is not plentiful, one of its main goals is to provide easy access to rare French books printed centuries ago, of which not many copies are available today and which are rarely present in other digital libraries. The richest collection is probably on Brazil, since Gallica has organized a special collection titled “France-Brésil” which provides access to the rich personal collection of books and manuscripts of the first French historian of Brazil, Ferdinand Denis (1798–1890), among other treasures. Gallica has undeniable value for researchers specialized in Latin American history, although working on its collections requires at least reading proficiency in French as the vast majority of the accessible resources are in French.
The Atis Rezistans (Resistance Artists) are a collective of sculptors based in downtown Port-au-Prince who have founded their own museum. The artists are best known for using found objects and wood to make politically charged works that draw on the imagery of Vodou. Since launching this artistic movement over a decade ago, co-founder André Eugène has referred to his home and atelier as Le Musée d’Art E Pluribus Unum. While art collectives are common in Haitian art, by designating themselves a “museum” the Atis Rezistans have incorporated aspects of conceptual art and installation art into their art movement. They describe the founding of this museum as a strategic appropriation of an institution that has historically belonged to the bourgeoisie. Conversations with Eugène, and other artists in the collective, reveal that they have carefully considered the power of museums: museums imbue certain objects with cultural capital and monetary value; present certain world views through the display of objects; and may offer visitors encounters with human remains. Becoming a museum has allowed Eugène and the other artists to access networks of art world mobility in ways that their artworks alone would not have. This essay offers context for understanding the Atis Rezistans as part of a tradition of art making among Haiti’s majority. It argues that due to their location, their class, and their overt use of Vodou imagery, scholars have overlooked conceptual elements of their movement, specifically how they play with the idea of the museum.