The Complexity of Identity: The Art and Life of Nahum B. Zenil

In this thesis, I analyze various artworks by queer Mexican artist Nahum B. Zenil (1947-) in relation to concepts such as identity, sexuality, and religion. In order to do so, I first must explore the events of the late 1960s in Mexico, particularly the student movement of 1968. This movement fought against the injustices of the Mexican government, advocating for change that benefited instead of hurting the people of Mexico. Their popularity began to worry the government and because of this, they decided they needed to stop their momentum. On October 2, 1968 the government opened fire during a protest in Tlatelolco Square. Although they deny it, their actions resulted in the killing of over 300 innocent students, civilians, and protesters. The aftermath of this tragedy led to the revitalization of practically all cultural, social, and political aspects in Mexican society. In the 1970s, the LGBT movement began. Those who identified themselves with these sexualities as well as allies came together in order to fight for gay rights within Mexico. Week-long celebrations of individuality and sexual expression, similar to present day Pride, were also established during this time. Not only were there political events happening during the week, there were also cultural events. The National Autonomous University of Mexico’s Muse del Chopo showcased work created by LGBT members and allies. Works displayed were centered around four different themes that often overlapped: “the secular iconography of mexicanidad, the religious iconography of mexicanidad, the violence of homophobia and AIDs, and alternative or liberatory representations of gender and sexuality” (McCaughan 2015, 93). Nahum B. Zenil not only helped to establish this artistic exhibition, he was also creating introspective and intrinsic works of art, channeling emotions of: guilt, love, loss, and humor. I focus on seven pieces by Zenil: En el zócalo frente a palacio nacional (1992), Soy Puro Mexicano (2001), San Miguel Arcángel (1989), Cristo (1998), En la región de los volcanes I (2005), De mi diario 2015. “Abrazo” (2017), and El jugador. The visual analyses will be discussed in relation to the following concepts: national and personal identity, the secularization of religious iconography, masculinity in Mexican culture, and the dynamic between being gay and being a man in Mexico. I will argue that through these works, Zenil’s art transcends the normal relationship between the art and viewer, allowing for relatability or even scrutiny. Not only this, but his imagery and narrative create completely different personas of himself all aimed towards representing the internal turmoil the artist faced as a marginalized individual within his own country.Art Histor