2008, April 25 (Jalisco, Mexico day two)
Our second day in Jalisco started with the same killer buffet at our hotel. Teresa, the affectionate tortilla maker, had me laughing in no time. José and I planned our day as we ate our breakfast and watched the tourists, movers and shakers eating . We had an appointment with the director of MAZ, Museo de Arte Zapopan, at noon. The rest of the day was open to looking at art and perhaps meeting some of Luis’ friends.
We found Luis waiting in the lobby after we had gorged ourselves of goodies and cafecitos. We caught a cab back down to the heart of Zapopan. We were early for our appointment so we took in the various exhibits at MAZ. A local artist, Carlos Vargas Pons, had his work displayed in the main gallery. His large canvases incorporate realistic representations of figures superimposed on copies of famous art historical pieces. The exhibit covered about 15 years of work. The pieces evolved from pictorial break up of the picture plane to his recent pieces where he literally breaks up the canvases into slivers of individual pieces grouped to create one large image. I much preferred the earlier work. Somehow the newer work seemed geared more towards a commercial market.
In one of the upper galleries we discovered an exhibit of illustrations and sculpture by a fantastic French illustrator, Bruno Fourure. Mr. Fourure has an impeccable way with detail in his ink and watercolor paintings of cities and fantastic landscapes. He also has a unique grasp of creating 3-D pop outs of his works that extend into sculpture in the round. One long case held a zoo train where each car was created in a different material combination – paper, wood, etc. The entire exhibit was kid friendly. There was a school group of 7 year olds camped out on the floor playing a game with cards sporting some of B.F’s images.
Our meeting at noon was quick and to the point. We met Ricardo D., the director of MAZ in his office. José quickly stated our purpose and we were shown a list of prospective prints from the Anguiano show we had seen the day before. While José and Ricardo went over some info I quickly scanned the list and tried to figure out how many of the 22 pieces we could actually exhibit in GR. Ricardo and I then discussed how to get the works to the States. We finished our business talk and moved onto other subjects. I asked Ricardo if there were any galleries showing prints by the Taller de Grafica Popular. I mentioned that I had a personal interest in the TGP, especially my favorite of the groups’ printers, Leopoldo Mendez. A big smile crossed Ricardo’s face as he informed me that Leopoldo was his Grandfather and that he happened to have some prints by him at his home. He extended an invitation to come see them. I couldn’t believe my stroke of luck! We agreed to meet later as we made our exit. I think I floated out of the room.
From the plaza at Zapopan we rode over near the University of Guadalajara to look at the museum there. On the way I noticed many unfinished construction sites. José and Luis explained the nature of politics in Jalisco. The government runs on three year terms. This makes it difficult for anything to get done as the parties seem to flip flop every election. The first 18 months are taken up changing policies from the last administration, for good or bad. The next 18 months are spent defending those changes and trying to get re-elected. The next administration rarely sees through the last administrations projects, therefore there is a lot of wasted money and efforts.
We walked onto the Universidad de Guadalajara campus to see some more Orozco murals in a small auditorium. We chanced upon a declaration being read and then signed by students of the University. The declaration was being sent to the UN. We continued on to towards the museum only to find it closed for installation. Luis recommended we walk on to the Ex-Convento del Carmen, a gallery converted from an old convent. On the way we were able to see some of Luis’ father’s sculpture in a park. The piece was a tribute to 3 founders of the worker’s movement.
The convent had some interesting works on view. I have to admit I was starting to wear down in the heat and sensory overload. I don’t think I gave the art the attention it was due. There were some interesting minimalist abstract pieces on acrylic and glass sheets that did catch my attention but somehow I misplaced the name of the artist.
Next we met up with a lawyer friend of Luis' at an open air bar. Abraham is an art lover and very animated talker. Luis had me show A. my portfolio, which I had loaded on my iPod. He liked my work and started addressing me as "Maestro". I was touched and a little embarrassed but the sentiment seemed genuine. A. had a meeting to catch so J., L. and I caught a so-so lunch at a smoke filled restaurant and headed back to the hotel to freshen up before heading to Ricardo’s home.
Ricardo’s home was in an older part of Guadalajara. The walls were covered with paintings, prints and “arte popular” (Mexican crafts like dishes, ceramic animals, glass, etc.). Ricardo showed us four of Leopoldo’s signed linoleum prints that he had framed in the living room and then pulled some others that were not signed or framed. They were all stunning. Leopoldo’s my favorite of the TGP artists for his strong compositions and exceptional drawing skills. His works have a very cinematic feel to me. Over sips of tequila Ricardo recounted his rediscovery of his grandfather. The family had lost touch with who Leopoldo was until an artist friend visited their home and recognized the prints and clued them in on Mendez’s significance in the Mexican art world. Ricardo recounted how his sister used to color in the prints that had been kept in a drawer in his mother’s house. The prints he showed us were some that he had the sense to save when he was old enough to know better. Reminded me of my little helper.
We closed out the night with a visit to one of the oldest bars in downtown Guadalajara called El Fuente. The bar is infamous for being the meeting place for politicians, artists and performers. Ricardo informed us that long ago he had painted a mural on the walls around the bar. The acrylic paints had long flaked away and been repainted. All that remained now was an image of a moon painted “al fresco” in a niche above the bar. The niche also held one of the grungiest bicycles I’ve ever seen. Legend has it that a patron left the bicycle as an I.O.U. for his bar tab and never came back for it.
