pedro friedeberg at bellas artes

pedro friedeberg is also on display at bellas artes.

i tried to find some of my favorite examples of friedeberg’s work online to share, but there isn’t much aside from his furniture, like the hand chair you have probably seen.

as kristen said, the reason it’s difficult to find is “probably because mexican artists are cool.”

Punishment of the Gods is on display at the expo

Punishment of the Gods is part of the collection on display at Bellas Artes

another reason is that a lot of it, including some of the work in the bellas artes exhibition, is privately held or up for auction.

at any rate, these are the pieces i liked the most. they were titled in both english and spanish, so forgive my jerky anglo-centricity in this:

  • Esperanto Lessons
  • Mexicans in Exile
  • Prophets and Comets
  • Social Welfare
  • Proposal for the Remodeling of Toluca
  • We Ask that You Decapitate in the Usual Order
  • The Mayan Calendar
  • Priestesses of the Order of the Hexagonal Orange
  • Orange Strangers have Strange Orgasms
  • City of Oranges
  • Feminist Notions
  • Discredited Perspectives
  • Quartered Nocturne
  • Deltitnu
  • Giaconda Palace during Mona Lisa Week
  • Crossword Puzzle Ministry

all cool. the last two both include masonic symbols and Deltitnu, depicted in venetian lace, is about tits. (so is Feminist Notions, i believe, though less explicitly.)

i noticed the masonic symbols off the bat, but later the curational materials also highlighted them. the curator suggests that friedeberg is not necessarily that into the masonic movement (though naomi’s blog entry suggests otherwise), but rather he loves to manifest in his work his “encyclopedic knowledge” of the evolutionary history of design.

he’s way into architecture, too, as you can probably tell. not just escher-type stuff, but a lot of his work is house plans or drawings of rooms, even city plans also; plus his sculpture work. he particularly likes gaudí, and he talks about the fact that decorative arts and symmetry celebrate the sublime in el cotidiano.

also athanasius kircher, according to bellas artes, and wunderkammer, “curiosity cabinets” of the 18th century where people displayed odds and ends of science and nature (stuff like shrunken heads, narwhal horns, probably some funky clocks, old cellphones, etc). again, you could say these are displays of encyclopedic knowledge.

perhaps not surprisingly, he sort of says minimalist expression is a contradiction for life in mexico, where boiling things down to their “purest” expression (i think of hemingway) does not lead to something you could call minimal.

friedeberg's hand-bench on paseo de la reforma

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