The Museum of Modern Art offers a new exhibition

Searching for an abstract root in the past before the Spanish, the clarity of the geographical and temporal borders in the non -affiliated art, and the relationship of artists with a present in the crisis.

These are the issues that the exhibition addresses Invisible appearance. Non-discriminatory art in Mexico, 1948-1978Which will be shown next Thursday at the Museum of Modern Art (MAM), which consists of 57 works by artists such as Rovino Tamaio, Pedro Coronel, Jerman Kueto, Manuel Veligurez, Angela Guria, Brian Nissen, Alice Rahon, and Viru, among others.

The exhibition is a panoramic approach to the artwork that took place in the years that characterized the end of World War II and the beginning of the Cold War joinery Raul Ruwaida, Secretary of the Exhibition.

The idea of ​​the exhibition arose from reviewing the MAM group, because we realized that an important part of it is integrated through drawing and sculptures that are not affiliated. What we were looking for was a review of the collection of paintings that ranged between 1940 and 1970.

So one of the main goals is to make crosses between what happened in art, as well as from the audience and artists, and how criticism helped to train a new audience, because as Luis Kardoza and Aragon, one of the critics we are dealing with, has commented for every new art that a new audience needs to be formed.

How did the Cold War affect this stage of art in Mexico? “It is interesting, because in that period in which we choose the exhibition, which begins in 1948, we see the end of World War II, in addition to rearranging political relations around the world, believing that the Cold War was just dividing the world between the capitalist part, headed by the United States, and the socialist part with the countries of Eastern Europe and Asia.

We realize how the United States had pledged a cultural crusade, because it realized that through culture it could affect economic and political decisions, and that was very important for Mexico.

In this context, the coordinator highlighted, “The Americans were interested in this art that stopped promoting the messages related to communism and socialism – as happened in the mural – and that the art that had nothing to do with politics was published. However, what was analyzed in this exhibition was that it was not, because many artists from the non -tumulus painting and the simple, salty source.”

This showed that “the artists were not simple clients without a decision, and that they were controlling it by the United States, but it was a game in which the creators wanted to support American cultural institutions, but they were aware of their present and the political issue in which they lived.”

Finally, Roada refers to the role of Juan García Ponce in this panorama. “The title of the fair exhibition comes from a book published by Garcia Bons in the 1960s, and it is chosen for art experiences, in which he talks about an invisible appearance, which is when it refers to the relationship between the audience and the painting, as happens between the eyes of those who look and the being seen.”

In addition to García Ponce, it has become the greatest defender of this generation, which is called rupture and includes non -automatic painters and discrimination, although we focus in this case other than nutrition, so it was one of the most committed players to generate a new vision for the cause of abstract art of Mexican art. “

Invisible appearance. Non-discriminatory art in Mexico, 1948-1978 It will be open until August 31.

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