Comentario
In July 1954, the Palacio de Bellas Artes was the scene of the most deeply-felt of all homages rendered to Frida Khalo: the funeral farewell (passionate and exalted) offered by her many friends and admirers to an extraordinany life. The body of Frida Kahlo and the expressions of mourning for tire death of a great artist filled the Palace with the world view (the Weltanschauung) of an intense and complex creator who in a Few short years had given a new and personal accent to a nascent Mexican modernity. The Palacio de Bellas Artes will he the setting again in 2007 of a great homage to this singular artist: the celebration of the centenary of her birth. The paintings, drawings, documents, and personal testimonies of Frida Kahlo will he displayed in the halls of the Palace in an attempt to reconstruct her vital universe and to reinterpret her place in Mexican culture.
A homage inevitably goes beyond celebration te become reinterpretation: it is not merely a cult rendered to a body of work or to an immobile past, but rather a reaction to the dynamic union of that past with the present, to the vitality of what is being honored, which is the only genuine kind el homage that exists. As perhaps no other Mexican artist, Frida Kahlo has been the object of sudden and unexpected changes and reconsiderations by the public, of renewed popularity and new critical approaches. At the centenary of her birth, this homage whose central Focus is the important exhibition in the Palacio de Bellas Artes has undertaken to crown and to enrich this exceptional and varied history of public and critical recognition.
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