Photography and Painting in Bellas Artes
By Guillermina Fonseca
Pasta de Conchos
Thu, Jul 17, 7pm
Sala de Arte Moderno
The journey of the Virgin of Candelaria
Thu, Jul 17, 7pm
Sala de Arte Principal
Painting: Artemio Sepúlveda
Artemio Sepúlveda, born in Rodríguez, Nuevo León, in 1935, spent his childhood in a coal mine in San Juan de Sabinas, in the region of Nueva Rosita, Coahuila, where a major catastrophe occurred in February 2006. That earthquake is the theme of this exhibition, “Pasta de Conchos.”
In 1949, several families of miners, including Sepúlveda, moved to Mexico City, to demand better jobs and a healthier lifestyle from President Miguel Alemán. They demonstrated through a hunger strike, which failed. Sepúlveda then worked in Mexico City as an apprentice and designer, drawing for an iron works company, which went bankrupt. Left unemployed and somewhat desperate, he emigrated illegally to the U.S. to work in the fields. This extremely difficult and deep learning experience marked his life. After a few years, the artist returned to Mexico to study at La Esmeralda under the tutelage of Carlos Orozco Romero. In 1955, Orozco left the studio to start his life as a painter. The sixties were very important years for Sepúlveda, since he collaborated with David Siqueiros and was part of “New Presence,” a group promoted as “neo humanist pictorial.”
His work has been shown in major museums, including the Museum of Modern Art, the MUNAL and El Chopo, among others; he currently resides in Tequisquiapan, Querétaro, and has spent 10 years as a permanent artist in the gallery Casa Diana, in San Miguel de Allende, Guanajuato.
The art critic Shifra M. Goldman says, “Sepúlveda is limited to treating the human figure, which he presents alone or in group placed on a flat bottom, sometimes cramming the pictorial space through which he expresses what has been described as “unexplored aspects of the human condition” or “the trauma of personal existence.”
Photography: Deborah Turbeville
Deborah Turbeville is one of the greatest photographers of our time and one of the few artists who has made it her personal and original vision to set a style which transforms fashion photography into vanguard art. Turbeville’s deep and captivating images have left a real mark on the history of photography.
Turbeville often uses a grainy appearance in her photographs, the result of a variety of techniques, including direct manipulation of the negative. The soft and pictorial tones of her colors and the combination of black and white or sepia with its subtle inks create an overall environment that pays tribute to her election of local issues.
Likewise, she avoids too new or neat places, and she delves instead into a more chaotic and disordered world that has an underlying richness. The widespread use of collage is evident in the juxtapositions and arrangements within and outside the plate, by subsequent addition of foreign elements.