Bicentennial should have come ‘from below,’ Mexican painter says
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Daniel Lezama is a Mexican artist with an unwavering commitment to two things that are not always in style in contemporary art circles here: representational painting, and the infinitely fruitful questions of Mexican identity.
Lately, Lezama’s outsider status is working its way inward. More museums and galleries have become comfortable showcasing his work. As Mexico builds awkwardly toward its official bicentennial celebrations -- a major monument is behind schedule and protests have been raised about the millions of pesos so far spent -- his large pictorial paintings exploring what he calls the grotesque yet beautiful ‘subconscious’ of Mexico feel relevant to the moment.
The Times’ Reed Johnson wrote in 2008: ‘Like fever dreams, Lezama’s neo-baroque paintings rope together seemingly unrelated elements. Chiaroscuro lighting and other Old Master influences dignify tragi-comic tableaux of inebriated peasants and Indian prostitutes. [...] Majestic landscapes are made unsettlingly humorous by the unexpected presence of a cheesy corporate logo, a band of strolling mariachis.’
Reed describes Lezama’s work as being rooted in Mexico’s ‘brutal aspects,’ and brutality is certainly an element of life in today’s Mexico, with drug-related violence filling the news pages unabatedly. Between Mexico’s failing drug war, the stubborn lack of economic equality, and the exodus of so many citizens risking their lives to seek economic opportunities in the United States, there’s not a lot to cheer about as the country nears its 200th birthday.
The government nonetheless is organizing a massive parade with stages and huge screens connecting the Paseo de la Reforma to the Zocalo main square, where the president traditionally rings the independence bell on the balcony of the National Palace. In May, officials said they would not be releasing information on the total cost of the events to the Mexican Senate for 12 years, citing ‘national security’ (link in Spanish).
La Plaza posed the question to Lezama this week: In such a climate, how would you have organized Mexico’s bicentennial? The artist did not hesitate to offer his view.
‘It should have been much better prepared,’ Lezama said. ‘Not as a song or a light show, but in some way from below. Look for ideas from people from the communities, the barrios, similar to how community leaders get together and decide how something is organized. Each state, and then each state organizing the municipalities, then the barrios.’
But, he added, ‘The country was caught off guard and then it’s running late. It’s like the señora who has to buy tamales for her son’s birthday party but the guests are already arriving. That’s exactly it!’
Lezama said in a recent interview with the daily Milenio that most Mexicans appear to have little expectation for the bicentennial, starting Sept. 16 (link in Spanish). It’s a shame, he argued, because he sees Mexico as being more ‘OK’ with inhabiting its cultural ‘Mexicanness’ than ever before. His elaboration is intriguing.
‘Take the arrival of McDonald’s in Mexico. They said, ‘In 10, 15 years you won’t see a taqueria anywhere. McDonald’s is coming.’ And on top of that the subtext was, ‘That’s a good thing.’ But look, we have more taquerias and better taquerias than ever. You know, people even say there’s better street food in Mexico than ever before,’ Lezama said. ‘Mexico decided to coexist.’
The cultural shifts that brought globalization and growing transnational ties to the U.S. don’t diminish Mexico’s traditional cultures, they just bring more possibilities -- in shopping as well as in art, you might say.
‘You go to a market on a Sunday, and it is beyond packed,’ the painter added. ‘And so is the Wal-Mart.’
But would it ever be possible to make even a satirical reference to Wal-Mart or McDonald’s in an official state celebration in Mexico? What do you think? How could Mexico have prepared differently to celebrate 200 years of independence?
-- Daniel Hernandez in Mexico City