From the great Surrealist exhibition held in Mexico City in the 1940s to the present day, this communicating glass continues to give people something to talk about.
With the arrival of the Surrealists in Mexico, the movement became comfortable in our lands and gradually accepted itself as an avant-garde manifestation. Our country not only hosted exiles of various nationalities, but also opened its arms to Mexican artists associated with the thought of Breton and some others, who, not considering themselves surrealists, participated in the International Exhibition of Surrealism in 1940, held at the Mexican Art Gallery. This exhibition featured a total of 109 items, some from places such as Germany, Austria, France, Chile, Spain, England, Mexico, and the United States, including drawings, ancient Mexican art, and “wild art”, the so-called masks. vessels and statues from New Guinea and Mexico.
Years later, namely in 1986, the National Art Museum held an exhibition entitled “Surrealists in Mexico”, an exhibition that offered an overview of the Surrealist artists who made up the Parisian group, the exiles in Mexico, and the young compatriots and foreigners whom they complemented their an iconographic repertoire of influences documented in the landscapes, poems, letters and sculptures that were part of the exhibition.
Once again, the connection between European surrealism and its Mexican side is explored in the exhibition Only the Miraculous is Beautiful. Surrealism in dialogue. Museo Boijmans Van Beuningen-Mexico, consisting of 289 works by representatives of the Dada and Surrealist movements, is presented at the Museum of the Palace of Fine Arts.
The exhibition project brings together studies in the fields of literature, painting, sculpture, photography and cinema with the participation of artists such as Max Ernst, Man Ray, Salvador Dali, René Magritte, Wolfgang Palin and Mexican authors such as Frida Kahlo, Agustín Lazo, Maria Izquierdo and others.
The exhibition consists of eight thematic cores. The first six are subject to the curatorial concept of the European part of curator Els Hook, while the Mexican part was in the hands of Tere Arkka. Arcq offered two more cores, a “time capsule” associated with an exhibition at a Mexican art gallery, and another dedicated to Edward James. The co-curator was interested in “emphasizing the extent to which landscape, mythology, pre-Hispanic and popular art nurtured the surrealists who came to Mexico, as well as the world of magic and the occult, which was transcendent, especially for a woman.”
Surrealists exalted dreams and the unconscious as sources of creativity, while at the same time advocating the destruction of institutions that they considered sterile and bourgeois – the church, the family. Today, all these values proclaimed by the surrealists are very modern, because surrealism was more than an art movement, a dissident way of seeing the world. For this reason, he became a watershed in Mexican plastic art, his presence motivating the reflections of several scientists, artists and intellectuals who have long talked about mastering the premises of this avant-garde.
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Source: Heraldo De Mexico
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