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Sublevación, despué sde Ximeno y Planes (reconstrucciónn), 2015-2018

In 2015 I started looking for any records of a mural that was completely destroyed by an earthquake in 1845, "Sublevación de los Indios del Pueblo del Cardonal" by Rafael Ximeno y Planes.

In 2017, after locating the only sketch that exists of the image (Museo Nacional de Arte MUNAL, Cd. de México; with the help and coordination to locate and document of curators Sofia Carrillo and Pedro Ortíz) and developing a material study of the original palette, the mural was reconstructed below the orginal place where it existed many centuries ago, painting it again in collaboration with two invited painters (artist Manuela Romo & Eric Valencia), for which we used the closest to the original pigments and techniques but reproducing the incompleteness of the sketch and the distortion of the bidimensional documentation.

In 2018, the image was completed, appearing slowly into the space again after 4 months of work open to the public, as a slow painting performance that involved time and dialogue as part of it's process.


Uprising, after Ximeno y Planes (destruction), 2018

"Sublevación de los Indios del Pueblo del Cardonal" by Rafael Ximeno y Planes is the only representation of the rebellion and killing of an indigenous community in Ixmiquilpan, a historic event mostly forgoten by it's current inhabitants and by visual and wirtten history. The painting depicts a romantic and heroic version of a rather tragic event, painted to serve a devotional purpose, which questioning surrounded the returning process of the image at the museum, also revealing the site's past and forgotten use.

After the completion of the image the mural was destroyed on site, as an act to become the earthquake and perform a monumental gesture of nature taking away the memory, but, after several hours, the action ended when many parts of the fragile painting -2mm thick- resisted to disappear, staying complete even when directly striked.

The fragments became other life of the mural, neither destroyed nor preserved intact, neither forgotten or turned into a monument, showing the rests of the image as fragments where even the smallest particle can still carry the memory of something bigger, where the image is not disappearing but extending, and the past landscape, event and loss it represents can be invoked again through it's missing parts.


Uprising, after Ximeno y Planes (fragments), 2018-2020

The fragments became other life of the mural, neither destroyed nor preserved intact, neither forgotten or turned into a monument, showing the rests of the image as fragments where even the smallest particle can still carry the memory of something bigger, where the image is not disappearing but extending, and the past landscape, event and loss it represents can be invoked again through it's missing parts.

Exhibition view, Museo ExTeresa Arte Actual, december 2017 to may 2018.

Painting reconstruction in collaboration with invited artists Manuela Romo and Eric Valencia.
With the support and collaboration of Nathaniel Cano, restorer and art historian
With the support and collaboration of the National Laboratory of Science for the Research and Conservation of Cultural Heritage, LANCIC, UNAM coordinated by José Luis Ruvalcaba.
Developed with the support of Museo ExTeresa Arte Actual.

Canto llano cuenca valle
Lost Paintings: tree, face, god, sky, arm, chest, armpit, legs, shoulder, stomach
(anonymus tlacuilos, Parroquia de Santiago Tlatelolco, s.XVI)
Lost Paintings: eye, line, lyre
(Juan Cordero, Templo de Santa Teresa la Antigua. s.XIX)
Synchrony
Uprising, after Ximeno y Planes (reconstruction, destruction and fragments)
Variations
Pulse Clock
Temporal
Largo Aliento
Carbon
Invisible Structures
Réplica
Concrete Acoustics (Christinenstraße 18-19, 10119 Berlin)
Concrete Acoustics (Calle Dr Mora 7, 06050, Mexico city)
Those who said our things before us
Notes on material history
Lost Bell
Lost Sculptures
Negation
500 years of Resonance (Mexico city, 1515-2015)
Universal Coordinated Time (Empty Quarters, UAE)