LORENA MONTES-OAXACA ARTIST-OAXACA CORAZON

Lorena Montes, a Oaxacan artist, was born in Oaxaca (13 de junio de 1980). She begin serious painting in 2000 and has since had many exhibition. While she has many favorite artist, in Mexico, Tamayo tops her list, internationally, Egon Schile. She studied art at Taller de Artes Plasticas Rufino Tamayo.

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See Lorena’s work on YouTube  with Lila Downs singing at: http://www.youtube.com/watch?v=LY65geSgazc.

Also view her works at: http://www.youtube.com/watch?v=SXLGqT79iYI&feature=BFa&list=PLB91B560AAF4F2138 with the voice of Nayeli Nesme.

Oaxaca, corazón, Lorena Montes (See Lorena’s Obras at: <http://www.facebook.com/Artelorenamontes>.

Lorena Montes se busca en Oaxaca, su ciudad, con tesón. Y lo hace a través de las artes: el dibujo, la pintura, el grabado y la mixtura de técnicas. Porque, pese a sus escasos 30 años, es una maestra en tierra de maestros, Oaxaca, la ciudad de los artistas en México.

Cuando la conocí en Barcelona (2004), ella estaba aprendiendo a grabar con Juan Alcázar. Viajaban juntos. El maestro grabador me telefoneó y nos reunimos los tres para compartir un tradicional esmorzar de forquilla en la Fonda Europa de Granollers. Así la conocí. Les había dado mis señas Francisco Toledo, el mítico artista y agitador cultural oaxaqueño, a quien yo había tratado fascinado en mi entonces reciente primer viaje a México (2003), tras tener noticia de él por dos exposiciones colectivas europeas previas, Col·lecció Jean Planque: la novel·la d’un col·leccionista (Barcelona: Museu Picasso, 2002) y Oaxaca, Tierra de Arte: uno sguardo sull’arte contemporanea messicana (Torino: Palazzo Bricherasio, 2003). En la primera, Francisco Toledo era el artista más joven de la colección internacional; en la segunda, la gran figura viviente de una brillante muestra local, en compañía de Rodolfo Morales, Rufino Tamayo, Sergio Hernández, Luis Zárate, Demián Flores, Guillermo Olguín, Maximino Javier, Filemón Santiago, Rubén Leyva, Alejandro Santiago y José Villalobos. Al visitar el Museo de Arte Contemporáneo de Oaxaca, amplié la nómina con Francisco Gutiérrez, Rodolfo Nieto… Oaxaca es, en verdad, Tierra de Arte. El verano pasado volví a la ciudad para dar charlas y lecturas. En esta ocasión conocí personalmente a la poeta zapoteca Irma Pineda, al maestro ceramista Claudio Jerónimo, al maestro escultor Víctor Orozco… y volví a ver en su medio a la joven Lorena Montes, ahora con un taller propio que visité gustoso. De este enjambre artístico oaxaqueño, caracterizado por un peculiar sentido onírico de lo real, proviene la paciente y valiosa labor de nuestra maestra buscándose, escudriñándose con la mano que pinta, dibuja, graba… convertida en instrumento de mirada. Certera y metódica, interior y exterior, late. Oaxaca, corazón, Lorena Montes.

El autorretrato deliberado y metódico es un género moderno, de gran eclosión contemporánea, cuyos primeros eslabones relevantes nos remontan a Durero, Rembrandt y Goya, y cuyo desarrollo pasa, en coexistencia con la fotografía, por Van Gogh, Matisse, Picasso, Toledo… hasta nuestro siglo XXI. En literatura, las escrituras del Yo, hoy tan en auge, nos remontan a Montaigne (Les Essais) y Rousseau (Les Confessions). Podría decirse, en este sentido, que Montes practica un arte del Yo, lo que en las letras más recientes consideraríamos como autoficción, ese terreno borroso en el que la realidad se rebasa a sí misma sin renunciar a ser real. Un terreno en el que Proust se anticipó con brillantez. Helo pues: aquí, así, nos late el arte de Lorena Montes. Y digo que nos late porque se rebasa a sí misma y, explorándose, nos explora; y acabamos, cada uno, latiendo con su corazón en Oaxaca. Porque descubriéndose ella nos descubre.

Ramon Dachs

Oaxaca, corazón, Lorena Montes.

En:  aDa Art Gallery (Barcelona) del 8 al 20 de abril.

CURRICULUM VITAE –  Lorena Montes

13 de Junio de 1980 Oaxaca, México.
loremon_@hotmail.com
http://www.lorenamontes.com

EXPOSICIONES INDIVIDUALES.

2011.- Oaxaca, corazón. Lorena Montes Galeria Ada. Barcelona España
Lorena Montes. Obra gráfica Café-bar-lounge Ebano, Barcelona
España.
2010.- Introspección Universidad Nacional Autónoma de México, México.
2008.-Cuarto Creciente, Taller de Artes Plasticas Rufino Tamayo, Oaxaca.
2007.-Acuarelas,en el del festival “Humanitas” Restaurant Ma Bonita,Oax
2005.-Tejiendo Miradas, Restaurante Galería La Olla, Oaxaca.
Espejismos, Galería Axis, Oaxaca.
2004.- Mirada Intima, Restaurante Galería La Olla, Oaxaca.
2003.- Entre Mares Desiertos, Restaurante Galería La Olla, Oaxaca.
2002.- Origen Galería Tiburcio Ortiz, Oaxaca

EXPOSICIONES COLECTIVAS

Expo Aniversario Galería aDa Barcelona España
Expo Yo pinto en el Taller de Artes Plásticas Rufino Tamayo. Oaxaca.
Expo Colectiva Galería La Colección Puebla, Puebla
Neblina Morada Paraninfo de la Facultad de Derecho UABJO. Oaxaca
Variaciones de Oaxaca, Sede de la Unesco, Barcelona España.
Sobreviviendo, Manéjese con cuidado. (Carpeta Grafica) Museo de los Pintores oaxaqueños y Galería Casa Lamm, Mexico DF
Tercera generación del Taller de Artes Plásticas Rufino Tamayo, Museo de los Pintores oaxaqueños.
Presente y pasado en la Plástica Oaxaqueña, Casa de la Cultura Oaxaqueña.
Matices de Oaxaca Exconvento del Templo de Sta Maria de la Asunción, Tlaxiaco,Oax.
Exposición de Grafica del Taller Rufino Tamayo Oaxaca. Universidad Autónoma de la Ciudad de Mexico.
Nueva Plástica Oaxaqueña, en el Museo de los Pintores Oaxaqueños.
Museo Conner de la Universidad de Texas A&M Kingsville Texas.
Homenaje a Diego Rivera, Museo Anahuacalli, México DF.
Una Noche de Arte Oaxaqueño, En el Museo del Risco, Ciudad de México.
Orquídeas de Oaxaca, en el Museo de la Filatelia, Oaxaca Oax.
Oaxaca en España, Universidad Francisco de Vitoria Pozuelo de Alarcón Madrid, España.
Cuicapiques y Tlacuilos, Centro Cultural Casa Lamm. México.
Titeregrafías Coordinación de Relaciones públicas y comunicación del Estado, Tlaxcala Tlax.
Edición Limitada, Galería del Centro Cultural de Chiapas Jaime Sabines.
Acuarelas en el centro Mexicano de la Tortuga, el Mazunte Oaxaca.
2002 Mujeres, colores y Texturas, Exposición de mujeres creadoras en la casa de la mujer Rosario Castellanos.
Muestra de Artes Plásticas del XXVII Festival de invierno en el Museo de Arte Assis Chateaubriand de la universidad Estatal de Paraiba Campina Grande Brasil.
Exposición colectiva en la Galería de la Fundación Politécnico AC. México..
Exposición de grafica, Instituto de Investigaciones estéticas de Veracruz.
Subasta de Arte Bienal de pintura y grabado Paul Gauguin en la Casa Guerrerense en el DF.
Exposición de becarios, Galería Tonalli SEDESOL, México DF.
Graphsodia en la Pinacoteca de la Universidad Autónoma de Guerrero.
¿Corazón porque no amas? Galería Rodolfo Morales del centro Cultural Ricardo Flores Magón. Oaxaca oax.

COLECCIONES
• Acervo Artístico de la Universidad Autónoma Metropolitana
• Museo nacional de Arte de Bolivia
• Museo de la Nacion, Perú
• Museo de Arte y Diseño Contemporaneo de Costa Rica
• Museo de Arte Contemporaneo del Ecuador.
• Museo de Arte Contemporaneo de la Universidad de Chile.
• Museo de Arte Assis Chateaubriand de la Universidad Estadual de Paraiba Campina Grande, Brasil.
• Universidad Tecnológica de la Mixteca, Huajuapan de León, Oaxaca

Ramon Dachs
(Ramon Dachs is librarian of Universitat Pompeu Fabra in Barcelona, the city where he was born in 1959.)

More of Lorena’s work can be seen on her website at: http://www.lorenamontes.com/portafolio.html.

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MEMORIES OF OAXACA by Alan L. Goodin (El Jaguar)

Memories of Oaxaca

“There’s something happening here.
What it is ain’t exactly clear.”*
By Alan Goodin

When I first ventured to Oaxaca it was in 1989. There, something unexplainable came over me, something I couldn’t explain to myself or any of my friends when I returned home to Sacramento. Whatever IT was, IT had burned a place in my mind and a profound sense of wonderment in my soul. Every other year since then, I returned to Oaxaca and eventually Puerto Escondito, Acapulco, and Mexico City. Oaxaca wasn’t like any of those other cities. It was different and when I wasn’t there, something inside my spirit was missing. No matter if my body was standing atop 11,000 foot Mt. Shasta, trout fishing on the Colorado’s Flathead River or skiing in Mammoth, my mind was in Oaxaca.

My obsession with Oaxaca caused me to move there in 2000, Yet, even after living here, I couldn’t put my finger on why. Late one night, on The Day of the Dead, sitting in a cemetery, alongside graves and alters with large groups of Indigenous people, something happened to me. I literally saw into another world, as if the heavens parted and ‘the Word’ was revealed to me. I could see and sense multiple worlds.
A second set of eyes were opened to me. I was seeing life and death simultaneously. Was I with Virgil, guiding me into those Dark Woods? Had Saint Peter opened the Pearly Gates? As always, I had a camera with me. When I picked up my photos I wasn’t surprised to see people I knew to be alive, standing, sitting, and talking with near-human, luminous souls, their friends and ancestors I suspected. Of course that was the second point. Seeing is believing! But being in the present and past, well it was time to break out the mescal and ‘break bread’ with the Gods. I was in between yesterday and today, but in this time zone, yesterday wasn’t the day before today, it was decades and eons from the past.

Later that night, back at my hotel in the centro, I had all the amenities of the first world, yet I could walk out the door into the Zocalo and find myself immersed in a cornucopia of Third World scenes and scents; chocolates, moles, roasting chickens, smoke from wood fires, beautiful trees, varying groups of beautifully dressed Indigenous people and something else. Whatever IT was, it wasn’t visual. It was sensory! And IT enveloped my body and soul. Past and present coexisted, right outside my window. Yikes! Beware, I hadn’t been warned, but there was nothing to fear. “Cast fate to the wind,” I thought. The river Styx had been crossed and I had entered the Dark Wood.

In 2003 I begin writing and my writing took me out of the Zocalo and into Mitla, Teotitlan, Etla, San Martin and the surrounding villages. There were all the foods, handicrafts, traje (traditional clothing), and numerous rituals of the Third World inhabited by the Triques, Zapotecos, Olmecas and other Indigenous peoples who settled this valley one, two and maybe three thousand years ago. I’ve heard it said by many that the Maya, Aztecs and Zapotecos abandoned their great temples and lands in Oaxaca long ago. Numerous reasons are given; over population, drought and war. That’s not exactly true.

You see, they’re still here—everywhere. More simply stated, Oaxaca is a suburb of Monte Alban, Mitla, Zachilla and the multitude of ‘archeological sites’ that are seeded and growing within the Oaxaca Valley, surrounding mountains and hills. Because they are everywhere that was when I noticed there were multiple worlds, all in one valley; the natural, the historical and the spiritual. I never had to think about going to any place again, as I can stand in Teotitlan, Milta, Monte Alban or any of the hundreds of villages in and around Oaxaca and be in three places at once. It was free. All I had to do was opened my mind.

In 1995 the Zapatista Rebellion was stampeding its way across southeastern Mexico and I was pulled into its current, and another realization. Here is some guy in Chiapas, Marcos, parading around in the jungle like a Post Modern Cyber-Che Guevara, with a ski mask on and wearing two watches; one set on Mexican time and one set on Zapatista time. Corny as it seems, the symbolism in Marcos’ gesture was another spiritual experience, except this time it was “mind and time expansion.” At the time, Mexico did not observe Daylight Savings. How primitive! Then I was informed by some Zapatistas that they don’t even observe Mexican time. The whole concept of timelessness opened a spiritual part of my mind that had only been opened once before, in Vietnam, in combat, where all too often time does not exist.

To me, all of the things that have and will happen in Oaxaca are in the present tense. Oaxaca simply is! It’s like the Emerald City. There is no time here. One afternoon, while walking by the colonial church, Santa Domingo, a brand new Jaguar drove past me, followed in seconds by an old man wearing a weather beaten cowboy hat and riding a burro. Observing the First and Third World clash, I thought, this is incredible. But the more I pondered what I had just seen, I said to myself, “Wait! That was no ‘clash.” I had just seen the First and Third world meld—like all the ingredients in Oaxaca’s Seven Moles; the flavors of a thousand years being served in the 21st Century, as if nothing had really changed. That’s the point! For many in Oaxaca, some things never have changed. Better said, “When you come to Oaxaca, YOU CHANGE!”

So, First World, Third World, Mexican Time, or No Time; historically, culturally, spiritually or any way you chose to describe “Memories of Oaxaca,” for me, it’s Milagro. It’s Magic!

*For What it’s Worth, by Stephen Stills

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Photo courtsey of Alan Goodin is a retired Correctional Officer and Vietnam Veteran who migrated to Oaxaca in 2000. He has authored the novel, “Life Imitating Death: Making Dollars and Sense” set in Chiapas and Oaxaca and is currently working on another creative non-fictive novel, “A Place We Ought Not to Be,” a story about a Special Forces soldier in Vietnam. The story is based as some actual event as well as those related to him by his friends in the California Central Valley Vietnam organization. He is a passionate photographer and has been published. Recently he did all the photos used in a presentation on Zapoteco Codicies use by Linda Martin at the OLL. He can be reached at morknme6@yahoo.com. Many of his photographs appear on the Oaxaca Lending Library’s website.

OAXACA STREET ART-Ongoing Photo-Series

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Oaxaca Street Art is part of an ongoing series, that is, Oaxaca Street Art is a full-time occupation for any photographer to keep up with. Over time I will ad artist names, locations of art, and definitions that explain to the reader that Street Artists are not to be confused with those members-at-large who simply valdalize property. In most cases, the Art I present will be that of artist who were ‘asked’ to come and paint.