{"id":55088,"date":"2023-02-24T14:15:05","date_gmt":"2023-02-24T22:15:05","guid":{"rendered":"https:\/\/eltecolote.org\/content\/?p=55088"},"modified":"2023-02-24T14:15:34","modified_gmt":"2023-02-24T22:15:34","slug":"preserving-memory-an-overdue-tribute-to-chicana-art-icon-amalia-mesa-bains","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/preserving-memory-an-overdue-tribute-to-chicana-art-icon-amalia-mesa-bains\/","title":{"rendered":"Preserving Memory: An overdue tribute to Chicana art icon Amalia Mesa-Bains"},"content":{"rendered":"\n

\u201cWe were the generation that was right at the cusp of losing it all,\u201d the Chicana artist and educator Amalia Mesa-Bains tells me, an urgency clear in her voice.
And with good reason.<\/p>\n\n\n\n

Born in 1943 and into a generation that viewed assimilation as a shield to protect their offspring from the welcoming American traditions of racism, discrimination and exploitation, Amalia\u2019s undocumented Mexican parents never taught her Spanish and they kept their family history locked away to be forgotten.<\/p>\n\n\n\n

\u201cI grew up knowing I was Mexican, but not really understanding what that meant,\u201d Amalia, who is 79, says. \u201cThere\u2019s a scholar, he\u2019s not alive anymore, Juan Gomez Qui\u00f1ones, he used to say the people most concerned with identity are the people who are in the most peril of losing it. And we were Americanized. I grew up in\u2026a white, white, white America. And you kept trying to fit in, and you just couldn\u2019t. And then at some point, you just got really mad, and stayed mad for years and years.\u201d<\/p>\n\n\n

\n
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\u201cArchaeology of Memory,\u201d currently on display at the Berkeley Art Museum and Pacific Film Archive, opened on Feb. 4 and features nearly 60 pieces by artist and educator Amalia Mesa-Bains. Photo: Alexis Terrazas<\/figcaption><\/figure>\n<\/div>\n\n\n

That rage manifested just as the Chicano Movement was underway, something that Amalia calls her \u201csaving grace.\u201d That movement gave birth to a yearning for cultural reclamation that has not only inspired Amalia\u2019s mixed-media art for the last five decades, but is literally reflected in her very first retrospective exhibition, \u201cArchaeology of Memory,\u201d now on view at the Berkeley Art Museum and Pacific Film Archive<\/a> (BAMPFA).<\/p>\n\n\n\n

Co-curated by Mar\u00eda Esther Fern\u00e1ndez \u2014 the inaugural artistic director of the Cheech Marin Center for Chicano Art and Culture at the Riverside Art Museum \u2014 and Laura Elisa P\u00e9rez \u2014 a UC Berkeley ethnic studies professor and co-chair of the university\u2019s Latinx Research Center \u2014 planning for the show dates back to the summer of 2018.<\/p>\n\n\n\n

\u201cThis exhibition is particularly important now. First, because it is so overdue,\u201d says Fern\u00e1ndez. \u201cWomen of color artists, among them Latinas, have been in the last years \u2018discovered\u2019 at the end of their careers, rather than in their 40s and 50s. For Chicanas, women of Mexican origin artists, this neglect in major and mainstream museums is striking.\u201d<\/p>\n\n\n\n

Two years after initially planning the exhibition, Fern\u00e1ndez and P\u00e9rez pitched the show to BAMPFA\u2019s Executive Director, Julie Rodrigues Widholm.<\/p>\n\n\n\n

\u201cU.S. Latinx artists remain vastly underrepresented across museum exhibitions and collections. We all know this. It\u2019s evident,\u201d says Rodrigues Widholm. \u201cWe also know that the work of women artists, particularly those of Amalia\u2019s generation, are too often undervalued, relative to their male peers. This is feminist art, this is Chicanx art, this is contemporary art, and this is American art.\u201d<\/p>\n\n\n\n

The show \u2014 a collection of nearly 60 pieces ranging from prints to collages to altar installations \u2014 opened on Feb. 4 and, thankfully, will be on display until July 23, 2023. For a body of work this vast and this encompassing, the exhibition deserves the space and time BAMPFA has allotted to it.<\/p>\n\n\n

\n
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\u201cArchaeology of Memory,\u201d currently on display at the Berkeley Art Museum and Pacific Film Archive, opened on Feb. 4 and features nearly 60 pieces by artist and educator Amalia Mesa-Bains. Photo: Alexis Terrazas<\/figcaption><\/figure>\n<\/div>\n\n\n

In a word, the show is overwhelming. Not just because of the elegance and beauty that accompanies each and every piece, but because of how personal it is. In allowing us into her space, Amalia tells us in the most intimate of detail the story of her family. It\u2019s a story grounded in social justice and triumph, but also one that explores pain, death, and of course, healing.<\/p>\n\n\n\n

\u201cThe work that I make I think, yes, it is beautiful, and it has an aspect of spirituality. But it\u2019s also about all the questions I\u2019ve been forced to ask about the world, and why we are treated the way we are,\u201d she says.<\/p>\n\n\n\n

\u201cI think sometimes my work is a little mystifying to people because they get drawn in by the beauty, and then they realize, what is this story really about. I catch them with the things that make them want to stay and look, and then I try to teach them, or open up their own thinking about their own lives. So when I finish I always have hope that people will come and find the truth for themselves in whatever they\u2019re looking at.\u201d<\/p>\n\n\n\n

When walking through BAMPFA\u2019s massive gallery that houses the various pieces that weave together \u201cArchaeology of Memory,\u201d among the most prominent being the Venus Envy installation series, the common observer may recognize that they\u2019re glimpsing a life and experience that isn\u2019t their own. But look close enough, and long enough, you\u2019ll notice the mirrors, the glass, the colors, the smells, and you\u2019ll see a part of yourself too \u2014 literally and figuratively.<\/p>\n\n\n

\n
\"\"
\u201cArchaeology of Memory,\u201d currently on display at the Berkeley Art Museum and Pacific Film Archive, opened on Feb. 4 and features nearly 60 pieces by artist and educator Amalia Mesa-Bains. Photo: Alexis Terrazas<\/figcaption><\/figure>\n<\/div>\n\n\n

Through the Venus Envy series, which is broken up into four chapters, Amalia\u2019s installations serve as a visible biography, told through metaphors. In Chapter I, we see images of Amalia as a young girl etched into mirrors that adorn the wall, an altar commemorating her First Communion, and a collage of photos from that holy ceremony that many of us are coerced into as kids. It\u2019s an homage to Amalia\u2019s coming of age, and her eventual questioning of the church\u2019s storied tradition of upholding patriarchy.<\/p>\n\n\n\n

In Chapter II, Amalia explores the community she forged with her \u201ccomadres,\u201d all while being married to her supportive husband, Richard Bains. \u201cAs lovely as my marriage has been, for many women, marriage is at the beginning almost like an enclosure in and of itself,\u201d she says. \u201cYou lose your relationship to others because you\u2019re focused on this one individual.\u201d Those relationships with those \u201ccomadres, which include Judy Baca, Ester Hern\u00e1ndez,Carmen Lomas Garza, still exist to this day.<\/p>\n\n\n\n

The third Chapter, \u201cCihuatlampa,\u201d deeply explores the sexism Amalia faced, even after earning her PhD and being named a MacArthur \u201cgenius\u201d in 1992.<\/p>\n\n\n\n

\u201cI still ran into the same wall that had to do with people resisting your intelligence, your power, your advocacy, because they just can\u2019t accept that that can come from you, because you\u2019re not white, because you\u2019re not a man,\u201d she says. \u201cAnd so this is a story about women who have learned to fight for the things that they feel are right, and how it is that we come together to support one another.\u201d<\/p>\n\n\n\n

The fourth and final chapter of Venus Envy however, is perhaps one of the most profound. Here, Amalia explores her own brush with death, and honors the \u201ccurandera\u201d tradition of her family, and honors the many members of her family who have now transitioned.<\/p>\n\n\n

\n
\"\"
In an exhibition that is long overdue, renowned Chicana artist and educator Amalia Mesa-Bains hosts her first art retrospective, \u201cArchaeology of Memory,\u201d at the Berkeley Art Museum and Pacific Film Archive. Photo: Alexis Terrazas<\/figcaption><\/figure>\n<\/div>\n\n\n

\u201cI have lived through a lot of death, a lot of challenges to my health, and eventually I came to the concepts of healing,\u201d she says. Twenty years ago this fall, Amalia was returning from Paris when she was involved in a near fatal car accident.<\/p>\n\n\n\n

\u201cIt was a very big turning point in my life, not just because of the physical injuries or the limitations, but because sometimes when life takes hold of you like that, you have to stop. You stop everything you\u2019re doing and you realize what really matters to you is to be well,\u201d she says. \u201cSo I turned to curanderismo because in curanderismo, the living and the dead are inseparable, the celestial and terrestrial are inseparable. The cure is alway collective, because the illness is always collective. We don\u2019t get sick by ourselves and we don\u2019t get well by ourselves.\u201d<\/p>\n\n\n\n

She described suffering from \u201cSusto,\u201d or what many may call shock or trauma. \u201cAnd I most certainly had that,\u201d she says. \u201cBecause in Susto, it is believed that the fear that you have is so deep, that it causes your soul to flee your body. And the result is what you would find in shock or trauma.\u201d<\/p>\n\n\n\n

She got better.<\/p>\n\n\n\n

The exhibition also includes \u201chomenajes\u201d to her family\u2019s history of migration, Tonatzin\/Guadalupe, Aztlan and Dolores del Rio.<\/p>\n\n\n\n

\u201cI never really thought I would have a retrospective, because people have always found my work challenging, at least in the museum world. But I think over these years we\u2019ve developed a whole new generation or two of young women and men of color who have gone into the museum world. And the shows I\u2019m having are a direct result of Black Lives Matter, the Latinx movement, and the generation of young curators of color,\u201d she says. \u201cI feel vindicated\u2026because I know now that young people and younger scholars and younger activists will find things in this work. And now I know, that in some strange way, my legacy is secure.\u201d<\/p>\n\n\n

\n
\"\"
\u201cArchaeology of Memory,\u201d currently on display at the Berkeley Art Museum and Pacific Film Archive, opened on Feb. 4 and features nearly 60 pieces by artist and educator Amalia Mesa-Bains. Photo: Alexis Terrazas<\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"

\u201cWe were the generation that was right at the cusp of losing it all,\u201d the Chicana artist and educator Amalia Mesa-Bains tells me, an urgency clear in her voice.And with good reason. 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