Celebrates National Monte de Piedad its 250 anniversary with the simultaneity sample

National Monte de Piedad (NMP) commemorates its 250 anniversary under the Mexican concept helping Mexicans, in order to celebrate its legacy and tradition, and with art as a means to narrate the history of this financial institution.

Yesterday was inaugurated Simultaneitycollective exhibition in which 10 artists were invited to intervene or make a piece from objects that remain in the NMP wineries. In addition, the painter Arnaldo Coen gave the first line of the mural Mutual presence of eternal timeswhich will perform in the Tezontle patio.

Likewise, the 12 mural panels were presented Mexicans helping Mexicansof the Chiapas painter Erick Tzucumo, made in two other spaces of the headquarters of the institution.

Another of the unveiled pieces was the installation of a sound vibration, Prosperity and abundanceby Tania Candiani, which reflects the perpetual movement of the energies that NMP channels, aligned with its mission of solidarity and financial support.

The participating artists in Simultaneity They were selected by a Council made up of Lourdes Sosa, Bruno Newman, Rafael Micha, Natalia Herrera, Brett Schultz and Andrés Medina. The creators are Betsabaé Romero, Laura Rosete, Chavis Marmol, Débora Delmar, Marcos Rountree, Edgar Orlaineta, Cisco Jiménez, Zoveck Study -We Cañibe–.

Betsabeé Romero intervened a bicycle, Cisco Jiménez departed from a cutter to make the piece Basewhile the work Commitmentby Debora Delmar, it consists of six small safety boxes placed in a horizontal line. Simultaneity It has the curatorship of Guillermo Santamarina.

The commemoration has as its starting point a History written with the effort of millions of Mexicans helping Mexicans. Two and a half centuries ago a man with vision and deep social commitment, Pedro Romero de Terreros, founded NMP with a clear mission: to provide support to those who need it through the pledgethe institution shared in a message.

As part of the commemoration, a conversation was held in which David Coto, on behalf of NMP, asked the gallery owner Lourdes Sosa and the curator and artist Guillermo Santamarina. To the question What is the role of art in the construction of Mexico’s historical memory and how does it contribute to keeping institutions like NMP?Santamarina pointed out that art is The column not only of the great phenomenon of what culture, social encounter and language development is, but is also the reason for solidarity, of a humanistic confirmation. It is interesting that institutions, and not only those of the government, participate in this huge process that, at the same time, is a way of being better human beings.

Sosa indicated that Art as a concept and practice must be accessible to all people. He agreed that Art transcends borders of all kinds. This collaborative part between private initiative, art and public institutions somehow generates the democratization of art with a greater scope.

The act was carried out in the central courtyard of the property, under the stained glass window Celeste versionmade by Vicente Rojo in 2019. Before the question How was the curatorial narrative of this celebration designed to reflect the connection between the historical legacy of NMP and the present?Santamarina referred to the fusion of times, “from the furthest to this (the red stroke), one of the most shocking and relevant pieces of contemporary culture. Vicente Rojo’s work is what illuminates and covers all these times.

“This time emblem, which merges into the present, is watered everywhere in the sample assembly Simultaneity.”

For Sosa, one of the great challenges left by collaboration between the art and institutional world lies in the need for establish a balance between the philanthropic missionin this case of NMP, and the vision of art.

When starting his new mural, Coen said: This is the first line of a giant commitment, I hope to survive it. I am proud to undertake this game in space and time. The intention of painting this piece is to exercise freedom. A freedom not only of the artist, but of the spectator, who is who is going to enrich the work.