Tarahumara

Hace más de 50 años, Bob Schalkwijk llegó a nuestro país, donde emprendió un viaje de un mes a la Sierra Tarahumara, sin embargo, confesó el artista holandés durante la inauguración de la muestra, aún no ha regresado realmente.

Bob Schalkwijk "Valle".- Naráchi_Enero de 1974

 Casi siete mil fotografías de la Sierra Tarahumara integran la colección que Schalkwijk ha logrado consolidar a lo largo de estos años y la exposición reúne una selección de 35 imágenes que muestran la interacción de los rarámuri con la naturaleza, pero también en su vida cotidiana, sus festividades, su gastronomía y los paisajes donde habitan.

Bob Schalkwijk "Danza de Matachines en el atrio del templo".- Naráchi_Enero de 1974

 Alejandra Frausto, directora general de Culturas Populares de la Secretaría de Cultura, destacó que Tarahumara es un homenaje al trabajo de Bob Schalkwijk, que muestra una mirada acuciosa de más de 50 años, la cual nos hace conocer con sutileza y respeto una de las regiones más apartadas y peculiares de nuestro país.

Museo Nacional de Culturas Populares

Av Miguel Hidalgo No.289

Coyoacán, Del Carmen, 

04000 Ciudad de México, D.F.

EL ARTE DE LA MÚSICA

La exposición que organiza el Museo del Palacio de Bellas Artes, en colaboración con el Museo de Arte de San Diego, es una exploración multifacética sobre el diálogo entre el arte y la música, así como un repertorio de formas que los artistas visuales han desarrollado a partir de sus elementos.

Salvador Dalí (España, 1904-1989) PROYECTO PARA ROMEO Y JULIETA, 1942

La muestra y el catálogo que la acompaña, pretenden acercar al público a los enfoques y análisis teóricos sobre la influencia de la música en el arte.

El arte de la música presenta una perspectiva interdisciplinaria sobre las coincidencias y diferencias conceptuales que han existido entre la imagen y el sonido a lo largo del tiempo.

John Baldessari, La trompeta de Beethoven (con oreja). Opus 127, 2007. ©Produced by Beyer Projects Edition of 6

 Asimismo, aborda las conexiones musicales entre las artes de Asia, África, el continente americano y Europa desde la antigüedad hasta nuestros días.

Vasili Kandinsky(Rusia, 1866-1944).- MUNDOS PEQUEÑOS 1, 1922

Los artistas plásticos han buscado representar la música retratando actividades humanas que involucran rituales y escenas cotidianas, pero también esta intención ha llegado a la interpretación y mezcla de los lenguajes visuales y sonoros en los que la forma y sus apariencias trascienden la narrativa visual.

Museo del Palacio de Bellas Artes
Eje central Lázaro Cárdenas
esquina con avenida Juárez s/n
Centro de la Ciudad

De Rubens a Van Dyck

La exposición está conformada por 59 piezas, entre óleos y grabados de artistas de la talla de Peter Paul Rubens, Anton van Dyck, Martin de Vos, Víctor Wolfvoet, Jan de Beer, Joost de Momper El Joven y de Jan Brueghel El Viejo, entre otros.

De Rubens a Van Dyck. La pintura flamenca en la colección Gerstenmaier presenta tres núcleos temáticos: religión, mitología y naturaleza muerta y paisaje. El espectador podrá conocer obras maestras llenas de detalles, con un espléndido manejo de los colores, así como maravillosos grabados, piezas todas con más de 400 años de antigüedad.

 

Puente de Alvarado 50

Tabacalera, 

Cuauhtémoc

Ciudad de México, D.F.

The Boy Who Drew Cats

A LONG, long time ago, in a small country-village in Japan, there lived a poor farmer and his wife, who were very good people. They had a number of children, and found it very hard to feed them all. The elder son was strong enough when only fourteen years old to help his father; and the little girls learned to help their; mother almost as soon as they could walk.

But the youngest child, a little boy, did not seem to be fit for hard work. He was very clever,-cleverer than all his brothers and sisters; but he was quite weak and small, and people said he could never grow very big. So his parents thought it would be better for him to become a priest than to become a farmer. They took him with them to the village-temple one day, and asked the good old priest who lived there, if he would have their little boy for his acolyte, and teach him all that a priest ought to know.

The old man spoke kindly to the lad, and asked him some hard questions. So clever were the answers that the priest agreed to take the little fellow into the temple as an acolyte, and to educate him for the priest hood.
The boy learned quickly what the old priest taught him, and was very obedient in most things. But he had one fault. He liked to draw cats during study-hours, and to draw cats even where cats ought not to have been drawn at all.
Whenever he found himself alone, he drew cats. He drew them on the margins of the priest's books, and on all the screens of the temple, and on the walls, and on the pillars. Several times the priest told him this was not right; but he did not stop drawing cats. He drew them because he could not really help it. He had what is called "the genius of an artist," and just for that reason he was not quite fit to be an acolyte;-a good acolyte should study books.
One day after he had drawn some very clever pictures of cats upon a paper screen, the old priest said to him severely: "My boy, you must go away from this temple at once. You will never make a good priest, but per haps you will become a great artist. Now let me give you a last piece of advice, and be sure you never forget it. Avoid large places at night;-keep to small!"
The boy did not know what the priest meant by saying, "Avoid large places;-keep to small." He thought and thought, while he was tying up his little bundle of clothes to go away; but he could not understand those words, and he was afraid to speak to the priest any more, except to say good-by.
He left the temple very sorrowfully, and began to wonder what he should do. If he went straight home he felt sure his father would punish him for having been disobedient to the priest: so he was afraid to go home. All at once he remembered that at the next village, twelve miles away, there was a very big temple. He had heard there were several priests at that temple; and he made up his mind to go to them and ask them to take him for their acolyte.
Now that big temple was closed up but the boy did not know this fact. The reason it had been closed up was that a goblin had frightened the priests away, and had taken possession of the place. Some brave warriors had afterward gone to the temple at night to kill the goblin; but they had never been seen alive again. Nobody had ever told these things to the boy;-so he walked all the way to the village hoping to be kindly treated by the priests!
When he got to the village it was already dark, and all the people were in bed, but he saw the big temple on a hill at the other end of the principal street, and he saw there was a light in the temple. People who tell the story say the goblin used to make that light, in order to tempt lonely travelers to ask for shelter. The boy went at once to the temple, and knocked. There was no sound inside. He knocked and knocked again; but still nobody came. At last he pushed gently at the door, and was quite glad to find that it had not been fastened. So he went in, and saw a lamp burning,-but no priest.
He thought some priest would be sure to come very soon, and he sat down and waited. Then he noticed that everything in the temple was gray with dust, and thickly spun over with cobwebs. So he thought to him self that the priests would certainly like to have an acolyte, to keep the place clean. He wondered why they had allowed everything to get so dusty. What most pleased him, however, were some big white screens, good to paint cats upon. Though he was tired, he looked at once for a writing-box, and found one, and ground some ink, and began to paint cats.
He painted a great many cats upon the screens; and then he began to feel very, very sleepy. He was just on the point of lying down to sleep beside one of the screens, when he suddenly remembered the words, "Avoid large places;-keep to small!"
The temple was very large; he was all alone; and as he thought of these words,-though he could not quite understand them-he began to feel for the first time a little afraid; and he resolved to look for a small place in which to sleep. He found a little cabinet, with a sliding door, and went into it, and shut himself up. Then he lay down and fell fast asleep.
Very late in the night he was awakened by a most terrible noise,-a noise of fighting and screaming. It was so dreadful that he was afraid even to look through a chink of the little cabinet: he lay very still, holding his breath for fright.
The light that had been in the temple went out; but the awful sounds continued, and became more awful, and all the temple shook. After a long time silence came; but the boy was still afraid to move. He did not move until the light of the morning sun shone into the cabinet through the chinks of the little door.
Then he got out of his hiding-place very cautiously, and looked about. The first thing he saw was that all the floor of the temple was covered with blood. And then he saw, lying dead in the middle of it, an enormous, monstrous rat,-a goblin-rat,-bigger than a cow!
But who or what could have killed it? There was no man or other creature to be seen. Suddenly the boy observed that the mouths of all the cats he had drawn the night before, were red and wet with blood. Then he knew that the goblin had been killed by the cats which he had drawn. And then also, for the first time, he understood why the wise old priest had said to him, "Avoid large places at night;-keep to small."
Afterward that boy became a very famous artist. Some of the cats which he drew are still shown to travelers in Japan.

The text originally came from:

Hearn, Lafcadio, translator. Japanese Fairy Tales: The Boy Who Drew Cats. Tokyo: T. Hasegawa, 1898.

Los modernos

Esta exposición ofrecerá al público un panorama general sobre el desarrollo del arte moderno durante el siglo XX, a partir de una selección de más de 140 obras provenientes tanto del acervo del Museo de Bellas Artes de Lyon, Francia, como del Museo Nacional de Arte, y la participación de otras importantes colecciones.

A partir de nueve núcleos temáticos, se resaltarán las aportaciones estéticas impulsadas por los movimientos artísticos de vanguardia, que de manera simultánea y en diversas latitudes, coincidieron en las mismas preocupaciones sobre el rechazo a la tradición figurativa de representación naturalista y la exaltación de la materia como condición esencial de un nuevo lenguaje pictórico.

Tacuba 8, Centro Histórico, Ciudad de México

Javier Marín en Terra, la materia como idea

La muestra pretende aproximar al visitante a la obra del escultor desde su materialidad, entendida como concepto, como idea central en su producción artística, ésta, en su gran mayoría, tridimensional por tratarse de esculturas.

Las piezas ocupan físicamente un espacio que es su contenido más obvio y expresivo. De ahí que su monumentalidad, la textura de los cuerpos fragmentados, los rasgos exagerados de las cabezas, atraigan el ojo del espectador a la obra de este artista visual y, muchas veces, provoquen que se detenga ahí.

No obstante, esta exposición pretende acercarse a la obra de Javier Marín como él mismo lo hace: convirtiendo la materialidad en la idea central de su producción artística. La presencia absoluta de los materiales no es en sí lo central en la obra, sino esa materialidad entendida como concepto: la materia como evidencia de la idea.

Antiguo Palacio de Iturbide

Francisco I. Madero 17

Colonia Centro, Ciudad de México

Javier Marín. Corpus

La belleza de lo imperfecto

La exposición Javier Marín. Corpus, curada por el Mtro. Ery Camara, Coordinador de Exposiciones del Antiguo Colegio de San Ildefonso, retoma el concepto de proceso como eje discursivo. Desde esta aproximación, la muestra invita al espectador a detener su mirada no sólo en la obra terminada, sino en los pasos intermedios entre la concepción y la realización de la misma; aspectos que delatan la técnica, la utilización de distintos materiales y, sobre todo, la idea.

Antiguo Colegio de San Ildefonso

Justo Sierra 16,

Centro Histórico de la Ciudad de México