FRIDA KAHLO AND HER VINTAGE ESTHETIC

Prosthetics 1953. Photo: Miguel Tovar

 

 

Frida Kahlo, the feminist muse of S.XX. Her intense and unfortunate life contrasts with the energy and expressiveness of her work. The people was cataloged as a surrealist artist, but she did not even label herself. She managed to grant the great Diego Rivera the nickname of "the husband of ..." This timeless muse still gives much to speak 62 years after his death. Her personal style is a reference in popular culture and the Museum Frida Kahlo has taken advantage of this characteristic aesthetic to pay homage.

 

 

View of the room 2. Photo: Miguel Tovar

 

 

The exhibition "The appearances deceive: Frida Kahlo’s dresses" is the first exhibition exhibited in the artist's museum about her wardrobe. With this new interpretation, her curator Circe Henestrosa Conoan, has wanted to make the visitor share the full strength of Mexican style. The wardrobe, discovered in 2004 in the artist's bathroom, explore her identity and fosters the visual imagery of traditional clothing.

 

This exhibition has reopened the debate of contemporary fashion since these clothes have inspired the great designers of the most current fashion world. Some of them are Ricardo Tisci or Jean Paul Gaultier. The latter premiered a collection inspired by her in the 1998 titled "Homage to Frida Kahlo"

 

 

Dai Rees. Photo: Miguel Tovar

 

 

Frida's political and cultural convictions have always been in focus, her impulse to revolution and her involvement in the diffusion of Mexican culture are a reference. This exhibition, shows tradition and disability, places them as pillars that have laid the foundations of the new base of popular culture and extol the figure of the artist. Not only can we know the frida revolutionary, but it brings us closer to a more human frida being able to admire her personal and more characteristic objects.

 

 

Givenchy. Photo: Miguel Tovar

 

 

The search for his identity is remarked with the Tetuhana history that showed with her daily attire. Strength and momentum are the nutrients and art his word. The influence he has achieved can only be explained by these small gifts that have left us to all those who we declare ourselves fervent followers. You can enjoy the exhibition until the end of 2016 at the Museum that bears his name in Mexico, if you are in the area do not miss this opportunity.

 

 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.