Postcard from San Antonio: Brothers share maximalist hospitality hints

Above: A place setting of “Le Point de Bascule,” an installation by the de la Torre Brothers as part of their exhibition, “Upward Mobility,” at the McNay Art Museum

An appetizing invitation from the de la Torre Brothers you can’t refuse? First entering the McNay’s gallery containing their almost-all-media dinner-party installation, “Le Point de Bascule,” you feel as though the guests must have stepped away from the table for a smoke on the patio after a wildly fabulous meal. Taxidermy around the walls make it feel oddly at home in big-game-hunting Texas.

We’re repulsed by this opulence. But we’re also thinking: ‘God, I wish I’d been invited to this party.’”

Artist Einar de la Torre, interviwed by Patricia Escarcega for an article in The New York Times

Above: The dining room table in “Le Point de Bascule,” a multimedia art installation by the de la Torre Brothers

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Postcard from Oaxaca, Mexico: Threading together women’s stories

Above: Installation by Elena Martinez Bolio included in “Una Larga Hebra/A Long Stitch” at Museo de las Culturas de Oaxaca

As an artist, I am a conduit so that the moment of creation, which is so vast and profound, can emerge from the simplicity and humility of a needle. That is what I try to express in this exhibition, to marvel again and to find meanings in the garments we wear day by day, because they record memories of what is ours.” 

Elena Martinez Bolio, “A Long Thread

Artist Elena Martinez Bolio has spent years working alongside women in villages of the Yucatan. She has learned their techniques for what has often been dismissed as mere domestic craft and liberated those applications to relate her personal stories and theirs. We were fortunate to catch an exhibition of her work, “A Long Stitch,” at the Museum of Cultures of Oaxaca this past spring.

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Postcard from Oaxaca, Mexico: Sarabia’s narco mixed-media tales fill second floor of MACO

One of the early mixed-media installations of Eduardo Sarabia, a native of Los Angeles living in Guadalajara, tapped into a journey sparked by his grandfather’s map of the rumored buried treasure left behind by Pancho Villa.

That and later stories are included in his current show occupying the entire second floor of the Contemporary Art Museum of Oaxaca (MACO). Traditional forms of Talavera pottery are transformed by symbols associated with narco-trafficking, contrasting the beauty of the culture with the dark undercurrents swirling underneath.

During a 2014 interview published on the website of the Arizona State University Art Museum, Sarabia reflected on the temptations posed by gangs when he was growing up in Los Angeles. A teacher noticed his talent and persuaded his parents to send him to Saturday art classes:

When both your parents are working and you grow up in a bad neighborhood, it is easy to get caught up in these things. Art saves lives.