The painter and sculptor Alberto Castro Leñero (Mexico City, 1951) is integrated into the Pleiade of Artists who made murals in the National Preparatory School, when the headquarters of this was the former College of San Ildefonso. Displacement It is titled the first pictorial mural of Castro Leñero, who had already done Elementsa ceramic set at the Taxqueña Metro station, and another in that same material on Ricardo Flores Magón Avenue.
Displacementportable mural, 3.10 high by 10.55 meters long, will be inaugurated on Saturday for a six -month exhibition. It was made Ex Professor For the assigned space of San Ildefonso, in the first floor corridor, next to the fresco Law and justice (1923-1924), by José Clemente Orozco.
Castro Leñero was summoned to make the mural by Déborah Chenillo Alazraki, then San Ildefonso Operational Deputy Director, and the poet Eduardo Vázquez, executive coordinator of the enclosure. The proposal arose following the death of the poet David Huerta (1949-2022), who was a friend of the painter. At first the mural was going to have some reference with the poetry of the author of Incurable; however, Then I started working with the issue of migration
. Finally, There is an element that represents the look. Which can be the eye of the observer or poet David. A circular element that can represent a great eye that sees the scene
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The artist fell into account that The same energy of the space required to dialogue with the other murals
. Then, the issue of migration arose, So present, current and sensitive. I started working several sketches of compositions with people walking. I made certain inflection points; For example, I put an image that has to do with the Virgin of Guadalupe, an element that considered relevance in that context. I also did a three -dimensional test and put a kind of triangular prism
.
The wall paint is flat, two -dimensional. However, in the midst of the composition it has a triangular outgoing, prism or fold
. Each side is The crowd that walks to somewhere in life better
.
For his Castro Leñero models he used images that he had on his cell phone of people walking because It is an issue that I have worked on other works, even in an engraving. On the Internet, newspapers and magazines I found more information. I collected several images and chose the most clarity and power within the composition; Then I structured the piece
.
Refers to his palette as “very kitsch“There are” soft and pink colors – although also contrasting, very alive. “The color It was emerging as I worked the piece. I started working the background, then I tried to enrich the surface. From the figures I came to me color that I changed until I found a contrast that gave me the feeling I wanted
.
– What is your feeling about migration?
–My position is not so much political, but of someone looking in art.
– Is movement a relevant factor?
– Yes, migration is something in which we are all involved. It is a human movement that is currently very painful for many people. Although it is an obvious issue, it seemed necessary to honor and record that human process.
Castro Leñero found intimidating while stimulating
Know that I would be with José Clemente Orozco and other personalities. Observing, for example, The party of the Lord of Chalmaby Fernando Leal, discovered a mural with A very good composition and an excellent technique management. Then Orozco, with that drama and that drawing force, is almost a kind of cartoonist in giant. I valued all these great figures because when I started painting they were a bit like not seen. What reigned was another type of art. This exercise has also allowed me
.
The commission of a work to The cradle of Mexican muralism
It is also a recognition for the generation of Castro Leñero: It is like a crack that opens, a way of linking this great tradition to my generation. Several artists could have participated or can do so, if this opportunity opens
.
Makes votes for the present work to be The principle of a new era in which culture authorities have creativity to take advantage of artists’ energy, since many can do very interesting things for public space. I imagine for schools or this type of buildings or public infrastructure
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– Is it a way of saying that muralism is not dead?
–That Mexican contemporary art can continue. Maybe it is not with the face of muralism as we knew it, but it becomes something else. Of course, muralism occurred at a time when there was someone who had the vision to project it to the future. That is part of our culture and what gives strength to a country. Continue that is something that is needed.
Displacement It will be inaugurated on Saturday at 1:00 p.m. at the former College of San Ildefonso (Justo Sierra 16, Historic Center).