Megnyílik a Frida Kahlo kiállítás Budapesten

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Frida címmel 2002-ben készült egy róla egy nagyszerű életrajti film. Azóta várom, hogy láthassam a képeit!

Frida Kahlo túlértékelt festő. A Kahlo-jelenség hátteréhez érdemes átolvasni Eduardo Limónnak az "Audacious Reasons Why People Say Frida Kahlo Is Overrated" címú esszéjét vagy Stephanie Mencimertől a "The Trouble With Frida Kahlo" című munkát. Jellemző részletek a fent említett írásokból: ... The controversy does not reside on recognizing her worth as an artist, but in making her into a myth as creator and woman. The real conflict doesn't stem from her, but from her fans. Why? Her work is not the most relevant or representative of the Latin American arts. Her visual production is relevant, of course, but it is not a turning point when referring to Mexican artistry. Her pieces are unique and worthy of study, and yet they are not a cultural standard upon which all other artists are to be measured against. Mexico is not limited to one artist or one kind of artistic production. Frida Kahlo is overrated because of a worshiping audience that has a distorted approach to her legacy. An emotional and even critical approach to work has been lost because of idolatry. The followers are infatuated with her egocentric and non-monogamist relationship with Rivera, thus placing her as a walking scandal, rather than a professional painter. ... The art world values Frida's artistic contributions because she is a woman. Kahlo's fans treat her and her work as those of a contemporary painter, when she clearly does not conform to this time. Frida's work has an element of performance that people appreciate, which is ironic considering they disdain contemporary performers. Frida Kahlo is overrated as many other artists. They cannot escape from the admiration of the public and meanings conferred to them. There’s no reason why you should stop liking her, and this article is not an attack towards her work. It is simply a reminder to understand the real context behind her creations and experiences. Feminists might celebrate Kahlo's ascent to greatness -- if only her fame were related to her art. Instead, her fans are largely drawn by the story of her life, for which her paintings are often presented as simple illustration. Fridamaniacs are inspired by Kahlo's tragic tale of physical suffering - polio at six, grisly accident at 18 -- and fascinated with her glamorous friends and lovers, among them photographer and Soviet spy Tina Modotti and Leon Trotsky. It's the stuff that drives Hollywood, and the kind of story that has become de rigueur for entering the pantheon of "great" artists. Valamint: Until the 1970s, though, there were almost no "great" women artists, and virtually no literature describing where and how they might have fit into the history of Western art. As the feminist movement gathered steam, women sought to rectify that problem, but it was a difficult project. Historically, women's limited opportunities meant there were few women artists to begin with, and even fewer whose work had been collected and could be definitively attributed to them. (Male artists and scholars have, over the centuries, made a habit of appropriating the work of talented women or attributing it to men.) Once scholars did identify significant women artists, they had to demonstrate that those artists met the male standards for admission to the canon -- i.e., they had to suffer and be mostly ignored during their lifetimes. This being the male canon, it was also helpful if the emerging female artists were beautiful and had glamorous friends. Kahlo made a perfect candidate. She didn't lop off an ear, but Kahlo had a horrific story. In 1925, when she was 18, she was riding a bus in Mexico City when it was struck by a trolley car. ... As if her bodily injuries weren't compelling enough, Kahlo's drama -- as well as her art -- was enhanced by what she referred to as the second accident in her life: Diego Rivera, the famous Mexican muralist to whom she was married for 25 years. ... So while women might celebrate Kahlo's success, it may be that real progress has come when a woman can be remembered both as a great artist and as a despicable cur. Because in the end, as Garrard notes, "Life is interesting, but art is what the interesting person made." Ezért nem meglepő, hogy Kahlo hazájában a műértő közönség más festőnőket jobban értékel. Cordelia Urueta, María Izquierdo vagy Celia Calderón méltán örvendenek nagyobb népszerűségnek Mexikóban mint Kahlo.