With meaningful insight, collection at IMAS depicts Mexican contemporary social history

This robust exhibition features the work of 34 independent artists from Northern Mexico.

“México: Crisis and Uprising” expresses and describes an accurate view of Mexico through the eyes of its artists.

“Mexico is no longer Cinco de Mayo or Día de los Muertos,” professed Samuel Rodriguez Medina, exhibition curator. “There is another way to understand Mexico and these artists are speaking about the people, the friends, and the relatives of the crises we have had; It is an expression about what is really going on in Mexico.”

Art can sensitize the public to human realities and this exhibition wants all of us to understand contemporary Mexico.

We are aware of critical events that have occurred in Mexico; but only as words on paper or sound bites on TV and have rarely considered their effects on the country itself. Land takeovers from indigenous people to clear it for cattle affects the people and the environment, all for profit, as depicted in CRIZARA’s “Todo va a estar bien.” In this painting the land burns, driving out the sacred deer, while an overindulgent young woman imagines what she can buy with her phone and credit cards.

The general theme that weaves its way through this exhibition is the perception that Mexico is devouring its own. With a single exception, the crises are communicated through representational approaches employing variations of realistic styles.

Whether government endorsed events or those of a criminal nature, seven photographs by Adela Inés González, “México devorando a sus hijos I,” becomes the thematic wellspring for the rest of the show. Inspired by Goya’s interpretation of the Roman myth that prophesized one of Saturn’s sons overthrowing him, Saturn ate his children moments after each was born as a prevention. Gonzalez tweaks it; In these photographs, a metaphorical Mexico is self-devouring.

The concerns and reactions to each crisis varies from artist to artist, providing a constant flow of poignant and relevant points of view.

We are familiar with some topics such as “in God we Trust” by Rosi Saldaña depicting the view of the border fence from the other side, but the strongest elements in this show are the ingenious inspirations for imagery. In the painting “The Last Pieta” by Margarita Rodriguez, Michelangelo’s “Pieta” forms a cactus symbolizing Mexico cradling a people shrouded. With the mountains of Mexico behind them, anonymous shrouded figures representing the “disappeared” and unresolved murders pass underneath.

“Hasta la raís” by Pilar Vidales conceives the country of Mexico with a fracture resulting in disunity caused by crisis. The fracture touches the innocent population like a live wire, desensitizing, and fracturing people to things about which they should not be indifferent, such as the criminal actions of taking another human life. Evil roots are shown pulled out.

“Birds of the Crisis” by Perla Luna is a powerful shamanistic statement. Blackbirds fly around the figure of a woman in trance representing a strong connection with the spiritual realm and the balance between light and dark. It is a powerful image reflecting undetermined transformation.

“México: Crisis and Uprising” is an opportunity to establish a deeper and necessary communication, which has been lacking for a long time. “

“By exploring the art that emerges from our world, we have a better chance for connection and resistance,” summarized Rodríguez Medina, “Our philosophy is universal, everyone who has persistence has the chance to live again. And that is the expression of these works.”

‘Mexico: Crisis and Uprising’

WHERE: International Museum of Art & Science, 1900 Nolana Ave., McAllen

WHEN: Through April 28

HOURS: 10 a.m. to 1 p.m. and 2 to 5 p.m. Thursday through Saturday

CONTACT: (956) 681-2800 or theimasonline.org

Nancy Moyer, Professor Emerita of Art, is an art critic for The Monitor. She may be reached at [email protected].