Counter-Cola: A Multinational History of the Global CorporationMain MenuAn Introduction to the Digital BookCounter-Cola: IntroductionThe Coca-Cola Bottling System and the Logics of the FranchiseMediating Coca-Colonization: Negotiating National Development and Difference in Coca-Cola’s Postwar Internationalization“I’d Like to Buy the World a Coke”: The “Real Thing” and the Revolutions of the 1960s"Indianize" or "Quit India": Nationalist Challenges in Post-Colonial IndiaA Man in Every Bottle: Labor and Neoliberal Violence in Colombian BottlingWater for Life, Not for Coca-Cola: Commodification, Consumption, and Environmental ChallengesCSR: Corporate Social Responsibility and Continued Social ResistanceA NonconclusionAmanda Ciafone0aef7449200e57e794d451fa2ca99b0795928eaf
1media/All Over the World Coca Cola Brings Refreshment Larger cropped.jpgmedia/coke.png2017-02-10T22:00:39-08:00Cultural Critique in Latin America14Coca-Cola became a motif in critical contemporary Latin American art in the 1960s and 1970s.image_header2017-11-28T23:08:31-08:00
Colombian conceptual artist Antonio Caro’s national award-winning Colombia (1976) applied its trademark red and Spencerian script to the country’s name suggesting the entanglement of state and global capitalism. Rubén Gámez’s surrealistic film, La fórmula secreta, o Coca-Cola en la sangre (1964), which won Mexico’s first experimental film festival, directly parodied the pop sensibilities of 1950s/60s televisual style and represented Mexican passivity to U.S. power through the repeated image of a patient receiving an intravenous transfusion of Coca-Cola.
Brazilian Cildo Meireles’s “Insertions into Ideological Circuits: Coca-Cola Project” (1970) attempted to “short circuit” the Coca-Cola system by adding political statements to actual glass Coca-Cola bottles and returning them into circulation. Thus, once refilled, Coke bottles read “Yankees Go Home” or instructions for turning the bottle into a Molotov cocktail. As a call to oppose both U.S. economic imperialism and tacit U.S. support for the Brazilian dictatorship, Meireles transformed Coke bottles into ideological weapons by turning their material and symbolic ubiquity against themselves and forcing a critical consumption.[i]
[i] Pozas, "From Reading to Seeing: Doing and Undoing Imperialism in the Visual Arts."