Manuel González Serrano

Aprendices de torero, 1948

Oleo / madera
60 x 80 cm

Mexican history is eloquent in creating new points of interpretation, but it also tends to emphasize, perhaps too frequently, tha imaginary ruptures in the development of historical and cultural facts, which have been shown to form part of the process of more complex perceptions. A type of "erasing all and starting a new", of rebirths and renaissances which concern both the vision of western culture being renewed as well as the pre-Hispanic cosmovision of reinitiating cycles in time, Thus, in the urban vista of González Serrano we can also see how the past and the present come together: the lethargy of time and the fallacy of progress, where coliseums and vernacular architecture watch the ambitious construction of skyscrapers to the entertainment of a macabre game, where the "apprentices" of the bullfight do not only "fight" the beast, but also duck from the blows of death who is riding next to the beast. From the interaction of opposites in complementary dynamics, it is a reflexive phrase which could also be applied to the ambience of the arts in Mexico at the middle of the century.

Cfr. a Ana Isabel Pérez Gavilán,

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