Postcard from Mexico City: ‘For Main Course We’ll Have That’

Am slinging out these final food shots from our fall visit to Mexico City like a short-order cook in a bad diner, but I am off taking new photos of meals in an entirely different spot on the map.

Most of these are from the Roma Norte neighborhood where we stayed. Am keeping my comments at a minimum, so the pictures will have to serve in helping you decide about restaurants when journeying there yourself.

Particularly enjoyed the abundance of vegetable dishes, including a no-pasta spaghetti, at Bowie Cocina de Humo, but the restaurant does take its name seriously. Every course is tinged with smoke-infused flavor. By the end of the meal, my mouth almost felt as though I’d been smoking. We found the much-heralded Nudo Negro with its show-off parade up to the kitchen to receive your amuse-bouche from the hands of a chef a tad bit pretentious, but the long-roasted eggplant, split open and topped with humus tableside, melts in your mouth.

There must be thousands of less expensive places to eat a Mexican-style breakfast in Mexico City, but the park-facing patio of Café Toscano on Orizaba is so pleasant the higher price tag was absorbed without question. Both the red and green chilaquiles are wonderful, and the fresh juice combinations round out the meals.

We loved the neighborhood comfort feeling of having pizza on the patio at Cancino Roma or shrimp arancini and a bowl of robust roasted tomato soup at Macelleria, where, as you can see from the featured photo, the restaurant correctly profiled us with the name of the house wine. Few tables at the popular Huset fail to order avocado pizza.

The variety and freshness of ingredients and recipes never disappointed us at Delirio. Fresh salads and sandwiches, moussaka and falafel and fresh meringues are among the celebrated bakery’s fare.

Veering even farther away from stereotypical Mexican food, the curries and toms at Galanga Thai Kitchen are worth seeking. The green papaya salad in particular drew us out for a return visit. With its flavorful chicken, roasted eggplant and falafel moistened with spinach, Paprika enticed us back for multiple meals as well.

From there, jump into downtown for the old-school formality of service in the high-ceilinged Casino Espanol, worthy of entering for viewing the stained-glass in its Porfirio-era home alone. The croquetas, boquerrones and seafood soup transported us to Spain.

We almost avoided Casino Espanol after reading a review describing it as the type of restaurant attracting old suits entertaining young mistresses, but there were only a pair or two seeming to fit in that category. The poor Mister and Vic, unsuited and in the company of old wives.

Whether squiring old spouses or young paramours, diving into a throwback to the past is a recommended ingredient balancing out all the trendy contemporary kitchens so abundant in this bustling culinary capital.

 

 

Postcard from Mexico City: Rivera freed stories from ancient stones

After vanquishing the Aztecs in Mexico City, Hernan Cortes (1485-1547) requisitioned the stones from the destroyed palace of Moctezuma II (1466-1520) to build his home on the same site across the plaza from the Cathedral. While much of this building was devastated in 1692, the stones were incorporated yet again as the building blocks for what is known as the National Palace, the current home of Mexico’s Treasury and Archives departments.

Working on an immense mural on a massive staircase within the governmental building between 1929 and 1935, Diego Rivera (1886-1957) released some of the stories witnessed by those stones. Tackling centuries of the history of Mexico in one composition, he viewed his painting as an opportunity to redefine the national identity. An accompanying set of murals, added between 1940 and 1951 and covering part of the walls on the second floor, traced pre-Hispanic history and the early roots of products of Mexico.

Instead of presenting history through the traditional European descendant lens, an anti-Indian and anti-Mestizo lens, Rivera glorified what it meant to be Mexican. He did not shrink away from presenting the brutal horror of the conquest or the corruption he saw within the clergy or the reign of Porfirio Diaz (1830-1915). Native Americans and those of mixed race were given dignity as the true faces of Mexico.

Diego Rivera belonged to a generation of Mexican muralists who picked up paintbrushes as others would swords. His paintbrush was wielded as a powerful didactic tool for shaping public opinion and affecting political change.

‘Tree of Life’ bears bountiful crop of tales from the past

If history were taught in the form of stories, it would never be forgotten.

Rudyard Kipling

Assigned by the San Antonio River Foundation with the creation of a major work of public art to celebrate the community surrounding Mission San Francisco de la Espada and its strong connections to San Antonio’s ranching heritage, Margarita Cabrera envisioned a tree of life. A tree of life overflowing with fruit. “Arbol de la Vida: Voces de Tierra.”

The origin of colorful trees of life is rooted in Colonial Mexico. Missionaries worked with craftsmen in the Puebla region of Mexico to create clay sculptures to relay biblical stories, often branching upward and outward from Adam and Eve at the base.

Building on that tradition of rendering stories in clay, Cabrera has collaborated with more than 600 members of the community since May to capture their narrative memories. Workshops were held to help even novices record these chapters of San Antonio’s shared history in slab and coil based clay sculptures. The finishing touches on the final fruits of this labor of love involving so many are being completed in a studio at Mercury Project.

While many of the 700 pieces already have been fired, these photos are of works in progress. After firing, Cabrera says, each piece will be filled with epoxy so that, even if a piece is damaged, the sculpture will remain intact. The average weight of each of the suspended “fruits” will be in the neighborhood of 200 pounds. Serving as a portal linking the Mission Reach of the San Antonio River to Mission Espada, this tree will be immense.

An ostrich-plumed hat perched atop the head of “la patrona” made Rosa Maria Hinojosa de Balli (1752-1803) easy to spot on early Texas cattle drives, according to Merri Gutierrez, one of her descendants. Gutierrez chose to depict the signature hat to represent the story of the daughter of two Spanish aristocrats who was born in Tamaulipas, Mexico. Known as the first cattle queen of Texas, Hinojosa de Balli amassed more than one-million acres of land stretching across five Texas counties. She built chapels at all of her ranches for the ranchhands and served as godmother to more than 300 of their children.

Thelma Ortiz Muraida is crafting a truck to signify the lifestyle of her father, a migrant worker born in Floresville. An artist who has illustrated numerous children’s books, Muraida is enjoying working with the clay. Her father loved to create folk art from found objects, and her great-aunt worked with her husband alongside Dionicio Rodriguez, known for his landmark faux bois cement sculptures. The truck pays tribute to those who work with their hands and their appreciation of and respect for the land. She is filling her truck with family members and the things they would pack up to create a sense of home as they roamed to harvest crops in other parts of the country –  birds, chickens, the pet dog and the guitar her grandmother played.

The meaningful ornaments for Cabrera’s tree are taking shape within the walls of Mercury Project, a network of artists’ studios founded in 2012 by artists and designers Antonia Richardson and Warren Borror in a renovated factory on Roosevelt Avenue. When Borror’s mother first saw the structure, she said, “I know this building.” From 1945 to 1955, the building was the San Antonio home of Clicquot Club Beverages, distinguished by its Eskimo Boy logo. The owner was popular for giving neighborhood kids free ginger ales and root beers, and church socials often were held upstairs. Borror chose that part of Mercury Project’s past to highlight for his contribution to the tree, a Clicquot bottle cap.

But the scallops of the edge of the bottle cap reminded the fifth-generation San Antonian of another part of both the city’s and his family’s past. The flip side of the cap will represent the cranks for a bicycle chain. His family has a photo of his great-grandfather in San Antonio’s first bicycle parade in 1893, and one of his great grandfather’s sons operated Ullrich’s bicycle shop where La Frite is today. While relating some of the city’s early bicycle history, Borror also is celebrating San Antonio’s increasing transition into a bike-friendly city.

So, staring up at 700 individual clay sculptures, how will anyone glean the stories behind them? There will be an app for that, says Cabrera. After firing, each piece will be photographed on all sides and will be accompanied by narrative from the community storytellers.

While shading people below, this tree will be an incredible place to play “I Spy.” The bountiful tree of life will stimulate viewers’ memories, encouraging multi-generational sharing, reviving San Antonio’s rich oral tradition often drowned out by contemporary media.

Harvesting the tales hanging above will take multiple visits to the story-telling tree. I sure hope this magical tree comes with a couple of rocking chairs below for grandparents to hold their grandchildren in their laps while telling them about life when they were young.

February 23, 2019, Update: Tales told through clay are bursting into bloom as the “Arbol” nears completion.