Otras miradas a Frida Kahlo

Tertulias en UNAM-Boston

In the midst of health contingencies, and having academic and cultural face-to-face activities suspended in higher education institutions worldwide, the headquarters of UNAM at Boston launched the digital project: “Tertulias at UNAM-Boston”

Few artists have become global icons like the Mexican artist Frida Kahlo is today. A symbol of strength for a diversity of communities, Frida is embraced by young people and adults; by feminists and the LGBTQ community; by those with a disability; for the lovers and the broken hearted; for the tireless fighters and women in politics and, of course, for the companies that make all kinds of paraphernalia that have made her one of the most commercialized figures of our time.

But what characterizes Frida Kahlo and her work that speaks to so many and in so many ways? Why do we want to have something, a bit, of her in whatever form it presents itself to us? Do we want her creativity? Her passion? Her bravery and courage in the face of pain and suffering? The free handling of its "florido" and popular language? Her love for Mexico?

In this Tertulia, experts in Art History, Museography, Curation and Linguistics explore the multiple languages ​​and facets of the artist, the student, the woman, the activist and the always supportive person that Frida Kahlo was.

It is in this interdisciplinary encounter and dialogue that the need to approach Kahlo's work from multiple perspectives is illuminated. From the historical perspective, we see that it is essential to understand the tumultuous first half of the 20th century in order to appreciate the social and political commitment that Frida represented in works such as My dress hangs there (1933). The cultural perspective lets us see the deep love and, when far away, the longing that Frida felt for Mexico and its popular culture as presented Self Portrait Along the Boarder Line Between Mexico and the United States(1932). The family perspective, represented in paintings such as My grandparents, my parents, and I (1936), reminds us of the complex and rich history of miscegenation that characterizes the most intimate Mexican social nucleus.

From solidarity, we see that Kahlo was one of many female voices who used her art to denounce abuse and violence against women, as she did with her painting A Few Small Nips (1935). Finally, Frida's work cannot be understood without the human perspective, of the sensitive and generous person that she was always. As shown in the painting The Love Embrace of the Universe,the Earth,Myself,Diego and Senor Xolotl (1949), life for Frida seems to be about going beyond pain, physical and emotional. It is about letting ourselves be embraced by a cosmic universe and by a mother nature that in turn allow us to embrace those we love in a world where chaos, disease and disappointment reign. We hope, therefore, that this Tertulia is the entrance to the wonderful kaleidoscope of Kahlo's art and that it awakens in the audience the curiosity to explore the many faces of her art, of Mexico and of life that the tumultuous first half of the 21st century presents to us.