Being Sunday, though, it wasn’t too crowded, and as we approached the neighborhoods that we seldom see, I was surprised. This was not gentry country, like down by Millennium Park, but it wasn’t bad, either – older brick row houses slightly shabby with age, but still well-kept. All the people on the street had that Indian look of Mesoamerica, but there was no garbage, no muffler-less cars blasting the eardrums, no chaos of beggars and illegal street vendors and slinky young pick-pockets, as in Caracas or any city, Mexico. No, it was clean, orderly, and, well, nice, with kids playing in the playground and families out with strollers taking in the warm cloudy day. Good so far. And as we followed Siri for directions, there we were all of a sudden in front of the museum, and there was a nice, open spot immediately across it to park – for free. Lucky day for a rube.
Inside, the museum was not large, but not small either, and it had an extensive gift shop and clean bathrooms – both goods signs. But best of all was the art, as it should be.
For some reason, I have had an affinity for Mexico ever since I learned about it in a rudimentary Spanish class in Junior High. I found I loved the music, the customs, the overall culture as I was then taught. It brought me eventually to take a semester abroad in college in Cuernavaca (a few hours south of Mexico City) where the country gave me all the sadness and depth that was dormant in my knowledge. With all its poverty, filth, rip-offs and occasional threats of violence, I came to love Mexico – not just for the cheap booze and good beaches, but for the place, the history, the people. The depth, the pathos, the - I don’t know - subtle flow of spirit in the small cities, the towns and countryside. It was my place. Maybe in another life, I don’t know. I would move there in my dotage except for the corruption and the drug problem, two sides now of the same coin.
Oddly, my son has an inexplicable attraction for Mexican woman, in spite of being raised in white small-town Wisconsin, but I will not go any further there. Rather, we go to the art, the celestial art.
There were, I think, five rooms in all, starting with the oldest Colonial period (1520 to 1812). Here, the artists were almost exclusively of European background, copying the styles of the home continent, which were airy and celestial, focusing on Divine Christian themes, but with a difference. Here was the heavy touch of evangelization to a heathen people – to be expected, and distasteful to modern sensibilities – but also, that sense of the new, of God come to earth oh-so-close. Mexico then was, to the Europeans, a nearly blank slate, a calling, a location just outside of Eden. The “primitive” people, ignorant as they were, were not caught in the cynicism of the crumbling ends of the medieval period of Europe. No, they believed in spirit, so much so that The Virgin came to them at Guadalupe at the very beginning. No one doubted it; Mexico had both the marks of Hell, with the vanquished Aztecs, and of Heaven, with its simple, believing people and vast, unexplored (again, to the Europeans) spaces. It was a new beginning and a new hope.
Never forget the Virgin of Guadalupe. As we moved to another room into the first era of the Republic after the revolution from Spain (ending about 1820), the faces on the paintings got darker, and the themes more human specific – peasants gathering sheaves, battles against France (Cinco de Mayo), Mexican-ness celebrated, still following the Virgin, for although Mexico was now for the Mestizos, it was still full of open nature and spirit – the spirit, again, of Christianity, but customized for that great new mix in the New World.
Now into the era post-Civil war (ending about 1920, with several more large conflicts lingering into the thirties). We all know Diego Rivera and his wife, Frieda, Euro-Mexicans, to be sure, but post-Christians in spirit. Here Mexico comes into its authenticity, whether real or imagined. We see the Virgin again, but she is surrounded with skulls and skeletons, back to the days of the Aztecs and ancestor worship. We now have the spirit of the past poured into the mold of Christianity, both taking their place for a mixed people and a new culture – not Indian, not European, but now fully Mexican, with the skeletons literally out of the closet. It is the Day of the Dead as we know it now, that mix of Halloween (All Saint’s Day) and appeasement of the souls of the dead, as it was in the beginning and apparently, shall ever be. Here we have the bright colors of the tropics besides the somber pastels of European style. And here we have the peasants victorious, however ephemeral that proved to be. We move closer to the future.
In sala cuatro – the fourth room – we step into modern art. There are the protests of the poor, there are the protests of the immigrantes, the bad Yankees building walls, sending people back, exploiting the farm workers and so on. Controversial as ever. But still, there is the Virgin, shown again and again with here glow and her star-studded blue shawl, now not only with skeletons, but stripped, groaning, tortured by ecological disaster; or filled with grotesque, cancerous kernels of genetically-modified corn, straight from Monsanto. We also have, from the first to the last room, Indian art, particularly that of the Huichol, who still practice their ancient ways, taking peyote and worshipping Mother Corn. We have the bright colors of their visions, and their spirit inside the Virgin Mother, Corn and Christianity, Indigenous and European spirit coalesced firmly at last, comfortable one within another. We have arrived at the modern era, and the Mexico that I have learned to love, in spite of the dark, in spite of the other meld: Spanish corruption and Aztec mass murder.
Dark, light, Hell, Heaven, still inside Mexico, still brewing, still turning. Politics rise, fists raise, we see the spirit of non-spirit, of Marxist materialism, but still there is the Virgin, and now Mother Corn, still the spirt, one and the same, that I heard whispering nearly 40 years ago. It is different than the US, and not always better – millions in immigration testify mutely to that – but it is still magical, still there. The museum - it brought back that childhood dream of Mexico, and rekindled it. It was not a fantasy; Mexico with all its problems still baths in a special spirit. Thanks, Chicago. FK