Frida, Diego and Tamayo under the fantastic Mexican sun

Death, tequila, and blindingly beautiful modern Mexican art: from a mysterious white-shawled woman to a Mexican version of the garden of earthly delights and what lies surreally beneath. 

These topics are discussed during a talk with Mexican Ambassador to the Philippines Julio Camarena at the press launch of “Mexico: Fantastic Identity, 20th Century Masterpieces — FEMSA Collection” on view until Nov. 9 at the Ayala Museum. The exhibit features 60 artworks by Mexican artists such as Frida Kahlo, Diego Rivera (our chance to see genuine Frida and Diego masterworks), Rufino Tamayo, José Clemente Orozco and David Alfaro Siqueiros, among others — including personal favorites by Juan O’Gorman (“The Myths”) and Leonora Carrington (“Step Sister’s Hen” [or “Marigold, Marigold, tell me your answers do”]). The show is also accompanied by a photographic collection of artist’s portraits taken by well-known Mexican photographers such as Manuel Álvarez Bravo and Graciela Iturbide.

“They basically represent the spirit of Mexico,” explains Camarena. “They go from our history, our traditions and our colors to our lifestyle and state of being. The mood of Mexicans, the excitement of life.” Take the cases of Frida Kahlo and Cordelia Urueta, he points out. The latter is the aunt of the ambassador who hails from the State of Jalisco.

“Cordelia is one of the most famous artists of Mexico. She was a fascinating woman — very critical of issues, yet very inquisitive and very joyful.”

He shares how in the beginning his famous aunt painted in colors that are reminiscent of Gauguin’s palette. But as the other Mexican figurative artists were delving into abstraction, Urueta created her own abstracts because she was losing her eyesight. “All she could see were forms and colors. In the United Nations headquarters are major works by three Mexican artists: Diego Rivera, Rufino Tamayo and Cordelia Urueta.”

Camarena did not pick up the paintbrush himself. Instead he became a diplomat: before he became an ambassador, he was deputy foreign minister in Mexico and deputy undersecretary general of the United Nations and was stationed in Vienna, Austria and in New York.

“So I’ve been in the international world, but I believe that through art you can promote your country.”

Art is woven into the fabric of Mexican life. So is politics, Camarena quickly points out. 

“There is a lot of similarity between the Philippines and Mexico — the culture, the traditions, the joy for life. They are very much reflected in the paintings by Mexican and Filipino artists. They may have the same colors although the tones are not necessarily the same.”

Must be the natural light. The ambassador thinks it’s because of how the sun shines in an archipelago as compared to how it operates in the Mexican terrain (mountains, highlands, desserts and tropical rain forests).

But for me, what makes Mexico one of the hippest countries is how it stares Death in the face. The skull — heretofore feared as an icon of dread — plays a starring role in the lively Mexican holiday Día de los Muertos (Day of the Dead) which falls on Nov. 1 and 2.

“For us, death is a part of life. It’s a festivity, a continuation of life. If you visit the embassy, you’ll see skulls everywhere (laughs).”

Behind the sun

It all began with a conversation in Davos between Ayala Corporation chairman Jaime Augusto Zobel de Ayala and FEMSA CEO Carlos Salazar about the galleon trade between Mexico and the Philippines. Juan Domínguez, human resources and corporate affairs director for Coca-Cola FEMSA Asia Division, says the two executives discussed about the FEMSA spearheading an event in the Philippines to rebuild that cultural history.

The FEMSA collection is considered to be one of the most important modern and contemporary Latin American art collections in the world, featuring more than 1,200 pieces of different disciplines.

“Coca-Cola FEMSA Philippines endeavors to build a stronger bond with the Filipino people on this occasion by promoting greater awareness of the Mexican art movement and bringing to the country heritage pieces,” explains Domínguez.

Mariles Gustilo, Ayala Foundation senior director for Arts & Culture, agrees. She says, “The influence of Mexican art in shaping the visual vocabulary of Filipino artists in the 20th century cannot be denied. This is an opportunity to connect and to continue to learn from shared histories and heritage through this comprehensive exhibition.”

And what an awesome exhibition it is. 

What is jarring about Frida Kahlo’s “My Dress Hangs There” is her absence, her dress hanging emptily and the shards of her life in America collaged like intruders in her mindscape. Frida is not there physically, but all there.

Curator Emma Cecilia Garcia Krinsky explains, “We have a lot of fantastic art created even before Surrealism arrived in Mexico from Europe. We’ve always had works of fantasy by our artists. One of them is Frida; most of her works deal with self-portraits. There are a lot of symbols in this particular work, an extraordinary painting. She always painted part of her life: when traveling, after undergoing surgery, when enduring great physical pain, her difficult life with husband Diego Rivera.”  

Did you know Rivera flirted with Cubism?

On view at Ayala is his “Spain’s Great (The blue angel or The knight)” completed during the artist’s stay in Europe. None of the grand forces of labor creating a mythic, revolutionary fiery Mexico here (moved by the spirit of the Aztecs), just swatches of color with unorthodox lines and angles recalling the much-admired Picasso and another transcendent figure. “Diego arrived in Europe just when Matisse died,” shares Krinsky.

A must-see is Juan O’Gorman’s work which depicts a Bosch-like descent into the underworld: mysterious creatures and holy fires abound. It’s a shot of metaphorical tequila to the head with everything that’s hot, wild and fantastic about the Mexican imagination.

Quite a visual trip.

Viva fantastica, indeed. 

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“Mexico: Fantastic Identity, 20th Century Masterpieces — FEMSA Collection” is on view until Nov. 9 at the ground floor of The Ayala Museum, Makati Avenue corner Dela Rosa St., Greenbelt, Makati. For information, call 759-8288 or visit www.ayalamuseum.org.