lence or of the body in such circumstances. However, her series Dos millones de casas para México( 2009-2010) establishes a perspective needed to understand a large part of the conflicts faced by the country today.
Corona shoots the sinister mechanisms of massive confinement happening in Mexico through public policies established by PAN from its ascendancy to presidency in the year 2000: the radical separation of the least favored through the euphemism of building popular housings, in housing complexes that skip the minimal principles of urbanism, ethic and aesthetic, and that postulate the rigor of a class apartheid that must be paid through a large credit by their own victims.
These serialized and somber landscapes are the future of Mexican cities prefigured from power with the sarcasm of offering a pretended benefit to the citizen that covers personal privileges, while less spaces, materials and plans are being made, in detriment of millions of people. We speak of a meticulously planned social exclusion to trace a clear frontier, at least for the next 30 years, between social classes.
Prison, cemetery, training field or ghetto, these are the associations that happen in the mind when watch-
Livia Corona, D
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