Posts Tagged ‘Lilliana Amezcua’|
Tuesday, May 13th, 2014
Works by three artists who represent the neo-Mexican movement are on display in “Éxtasis y Abundancia” (Ecstasy and Abundance”), an exhibit that’s part of the 2014 International Cinco de Mayo Festival in Puebla. Now through June 29, visitors may enjoy this feast for the eyes at the San Pedro Museo de Arte just two blocks from the zócalo.
All three featured artists—Antonio Álvarez, Lilliana Amezcua, and Arturo Elizondo—studied at the Universidad de las Américas-Puebla; Álvarez is now an UDLAP professor. Although each artist has a distinct style, observers can find similarities among their pieces. A description of the exhibit speaks of their “figurative large-format painting on stylized themes related to Mexican culture, creating an innovative sense of post-revolutionary nationalism.” This nationalistic spirit is one which delights in re-creating past history and reflecting a mix of Spanish and indigenous elements while also poking fun at religious and social traditions.
Perhaps the most prominent painting on display is the detailed mural by Antonio Álvarez dedicated to Cinco de Mayo, on loan from El Mural de los Poblanos restaurant, where it usually hangs in the lobby. The mural depicts various people with historical significance to the Battle of Puebla, including Gen. Ignacio Zaragoza. (A reference map in Spanish identifies those represented.)
Also by Álvarez are riffs on el santo niño, the Christ child figures that are dressed up yearly for Candlemass (Día de la Candelaria, Feb. 2). One is a mason whose clothing is spattered with cement, and another is a tourist with sunglasses who’s gone sight-seeing all over Mexico and has snapshots to show for it! Another unusual series by Álvarez, created for the 100th anniversary of Picasso’s “Les Demoiselles d’Avignon,” reinterprets the cubist painting by superimposing images of Mexican showgirls on those of the original canvas.
Meanwhile, Álvarez’s series of portraits of nuns from centuries past was inspired by the fact that these women rejected the prevailing female role of housewife in their times. In contrast is a tongue-in-cheek painting of punk rocker Patti Smith as a nun, founder of the “Order of Barefoot Punkettes” (pictured at right). Her huge metallic medallion has, instead of saints, images of artists and others who inspired her, including Jimmy Hendrix and Bob Dylan. Having spent a number of years living in the United States, Álvarez describes his recent style as “Gringuismo mágico” (“Magic Gringoism”), in which he elevates the commonalities of American life to a spiritual level.
Lilliana Amezcua, on the other hand, likes to call her style “punk Baroque.” Her series “Patrones” (“Patrons”) involves collages combining recycled items like Barbie shoes and clippings from decades-old women’s magazines with her own painting or embroidery. She provides social commentary on “the perfect homemaker” of the past by mocking the pills and potions advertised for bigger breasts and whiter skin.
Another favorite genre of Amezcua’s is the self-portrait—a la Frida Kahlo—and she sometimes dresses herself as a grande dame while, at the same time, insinuating that she is no such thing. “Dama con Perrito” (“Lady with Doggie,” pictured below) is one fine example of this.
Amezcua links past and present as she seeks to continue with the perfume factory and shop her Spanish grandfather started, following the original formulas for soaps, oils, and scents with ingredients like rosemary, coconut, grapes, and garlic; many of her works in “Éxtasis y Abundancia” reveal her family’s history, and one shows her surrounded by the tools and recipes of her trade as if they were a halo.
The project “Anónimo” (“Anonymous”) by the third artist, Arturo Elizondo, stands out for its interactiveness, involving the community and relating to written media as well. He asked volunteers of all ages from different parts of the city of Puebla to read excerpts of literature by Mexican author Juan Rulfo and to draw a picture of a scene. Elizondo then painted the readers with their creations. In addition to the “common man,” celebrities like Diego Rivera and Frida Kahlo also appear in his paintings.
The exhibit is well-named, as its riot of color, textures, and images is indeed remarkable for its “ecstatic abundance.” Saints and devils, the profane and the prosaic, politics and history, humor and social comment intersect and delight. —Margie Hord de Méndez
San Pedro Museo de Arte (4 Norte #203, Col. Centro), is open daily except Mondays from 10 a.m. to 5 p.m. General admission is 30 pesos (free on Sundays). “Ecstasy and Abundance” runs through June 29.
Images used with permission from their respective artists.
Tags: Antonio Álvarez Moran, Arturo Elizondo, Lilliana Amezcua, neo-Mexican art, Puebla, San Pedro Museo de Arte
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