Perhaps the drivers of the two vehicles did not know what the accident created-Frida Kahlo, who was only 15 years old and a student of the National Preparatory School, happened to be sitting on this bus. This terrifying impact caused multiple fractures to her collarbone, spine, and ribs; a long iron bar pierced her abdomen, entered her uterus, and finally penetrated her vagina—"I lost my virginity", Freeh Da said.
Later facts proved that Frida not only lost her virginity, but also lost her fertility, thus locking herself into the abyss of loneliness forever. The huge transformation of the painter's body by the car accident is full of metaphors and symbols—for three months, Frida was wrapped in layers of white plaster like a mummy. She crazily missed freedom, missed health, missed her lover Alejandro. On the one hand, the state of being bedridden for a long time made her completely enter a private realm, a "Dasein" that is always accompanied by loneliness; on the other hand, her perspective on the world has also changed. , She is often happy to regard them as a part of the human body, or it can be said that in her view, a part of the human body is nature. In that portrait for California horticulturist Russell Bank, the smiling old man holds the green leaves of the plant. His legs become the root system of the plant, which spreads several meters underground. Wrap a skeleton lying there tightly.
In Europe at this time, a group of painters such as Picasso, Matisse, and Munch have established the status of modernism, and postmodernism and surrealism have also emerged, and a revolution is brewing. Dali held her first solo exhibition in Barcelona. Kandinsky’s "Several Circles" has also been completed. Frida, who is as far away as Mexico, also recovered from physical pain and completed her first real life. Painting-"Self-Portrait". Frida appeared in this painting with a beautiful but fragile image. She was wearing a red velvet coat and stretched out her right hand-this overly mature woman seemed to be trying to catch something again and again.
As critics have repeatedly confirmed in the future, Frida in the early days was an authentic Latin American painter, and her paintings were deeply influenced by two aspects. One is the “indigenism” (indigenismo), which was a cultural and political movement at the beginning of the 20th century, which emphasized detailed description in technique, flat colors, and clearly visible outlines; in the attitude towards culture, hope The artist is rooted in the local civilization of Latin America, and he introspectively explores and thinks about it, and then uses it in his artistic creation. This indigenous civilization not only includes Indian civilization, but also includes more diverse and mixed Latin American civilizations after the Spanish colonization. The influence of indigenousism in literature is significant. Guatemalan writer Asturia, who won the Nobel Prize in Literature with "Death of the President", is an advocate of indigenousism; in terms of painting, it eventually promoted Mexico’s "Mural Movement", Frida's lifelong lover Diego Riera is one of the main forces of this movement.
Secondly, Frida never hides the fact that he loves and benefits from altar paintings. The altarpieces originated in the colonial period are usually a record of disasters. Finally, due to the appearance of the Virgin and Saints, the people in the disasters were saved. There are many cruel depictions of the disasters in the paintings, but the techniques are true, calm and unmoving. The sensuality and color make the viewer vibrate. In the eyes of Breton, the pioneer of Surrealism, this ancient art form is not only surprisingly advanced in time, but also in speculation about life and death in space, and supernatural in relation to the internal and external relationships of the human body. Experience experience.
I believe there is such a consensus that the rebellion against tradition must come from the inside rather than from the outside, and must come from professional talents who are familiar with the middle school, not from celebrity thieves. The establishment of Frida's own style of painting is not a rash reaction to realism, nor a blind obedience to new trends of thought such as surrealism, but more from the generation of "intrinsicity". In the touring exhibition of Frida's paintings in Paris, people including Breton, Toussaint, Picasso and others were unsurprisingly overwhelmed by it. Breton excitedly praised Frida as a "spontaneous surrealist", and Frida-this from Latin America, a piece of Europe that is forever separated from the center of civilization, was covered with coup and ochre paint. The women of the mainland occupied by the mixed race of China have also been included in the wave of surrealism without any doubt. Breton’s admiration of Frida even extended to the whole of Mexico. Mexico is not so much a tragic neighbor of the United States, or a remote and psychedelic political refuge for people such as Trotsky. As a European, he I believe that, at least in art, Mexico has long been a “hotbed of surrealism”.
As Sontag said, every artistic style embodies an epistemological choice. Frida himself did not agree with Breton's "surrealism" theory. "I really don't know if these paintings are considered surreal," she said, "but I'm sure they are my most straightforward confession."
This embarrassing difference is very worth thinking about. Different from European surrealism, the supernatural images appearing in Frida’s paintings (like the animals with human heads in "The Wounded Deer", the volcanoes, blood, corpses, The scene of strange plants coexisting in one room, etc.) This session comes from Frida’s personal "knowledge composition". The composition of this knowledge is extremely complex. It contains ancient Mexican witchcraft, Indian legends, Aztec sacrificial rituals, and sun god myths and other "meta-knowledges". They finally constitute an aesthetic existence. The world of painters. However, European surrealists, in order to resist the rationality and logic of Western society, try to enter the deepest inner world filled with anxiety and panic of modern people through irrational, absurd, and meaningless expressions, and subvert them. Tradition.
The different understanding of style obviously caused a deeper cultural misunderstanding. The same situation has happened to Marquez. When asked about the magical realism elements in his works, he seemed dismissive. "I never feel that my own things are magical realism, they are all real."
Even Breton and others have to some extent seen through the illusion of European imperialism, and then in this tradition Crash everywhere, hoping to cause cultural "dislocation", but we sadly discovered that, unlike Frida, intuitively speaking, their art often gives people more broken ideas and is even more unpleasant. At this level, as Chen Pingyuan said when commenting on Li Zhi, once "anti-tradition" becomes a new "tradition", its negative value will emerge. This kind of maddening ideas even entered the political realm and public life through a few crazy Marxist anarchists. I'm not exaggerating their effectiveness, but the fact is that on this level, many political movements in the late 20th century appear to be full of psychedelic surrealism.
What's more disturbing is that behind Breton's praise is a discourse system that we are all familiar with, that is, the prejudice against Latin America and its art for hundreds of years. This set of prejudices is rooted in the political discourse of imperialism. Together with the cultural paradigm and ideology that radiate from the four seas, it expands physically in a huge space, and then in the very long years to come, it will be based on the sovereignty of its sovereign state. Identity, with his white identity and the identity of an excellent elector of God, he scans all the "others" with disdain, desire, and rigorous scrutiny. In essence, Breton’s attitude is exactly the same as the arrogant arrogance of "Show me the Zulu Tolstoy" by an American intellectual in Said's book. I think Said has said enough about this set of words. Different from the Arab world in his fantasy, the devastated continent of Latin America has always been the "marginal" of human civilization in the eyes of Westerners. This is the pain that this continent has been borne all along. In 1928, when the Peruvian poet Vallejo wandered the streets of Paris, he wrote about his own experience in verse:
The day I was born was the day
when God was sick.
That day, he was very sick.
For these artists, the cultural rejection may be more distressing and desperate than the cramped life. Breton’s commendation just exposes his preconceived judgement identity, and at the same time appropriately reflects the fact that Latin American art has always been regarded as inferior imitation by the so-called “Western orthodoxy”. Under this factual premise, a Frida appeared. Such a character is no doubt shocking them.
On the contrary, this kind of prejudice catalyzed the Latin American artists to turn to a deeper internalization on the one hand, and on the other hand, they tended to deposit, smash, and transform themselves, until they established the final unique style. Just as everyone sees Frida’s paintings, he is deeply affected by his quirky style and the thinking about life in the paintings. I still clearly remember the whole cognitive system that I felt when I read Borges. Throbbing during severe challenges. Of course, we as viewers also take a continuous and novel perspective. However, we realize that the following concept is necessary. This point appears in Said's "Culture and Imperialism":
"... The composition of the cultural attributes we are discussing is not due to its essential characteristics (although its long-term charm comes from its essence), but to treat it as a subject with a counterpoint." I
have to admit that as a painter , The name "Frida" means too much. Her cultural self-consciousness is admirable, and her passion for Mexico is even more convincing, but this does not seem to be enough, because more importantly, she has great significance for the status of Latin American art.
When we return to paintings and repeatedly discover that she is so obsessed with a series of themes such as self, death, disaster, loneliness, etc., we will be shocked by the modernity of her paintings. There, we saw more than once that she separated from her body and faced herself in the painting; her organs were suspended in the air, and the scarred body beside her, as if she had just experienced an atrocity... I believe that whether you are creating them or admiring them, this irrational and supernatural experience is nothing more than a kind of "extreme experience", and the discovery of personal existence here may be exactly what the artist hopes for, and it is also the same. As Nietzsche advocated: Art rises on the side of nature, but in order to surpass it.
In 1978, Frida's paintings were exhibited in the United States, wherever he went there were praises. For a while, all cultural and ideological barriers seemed to disappear because of the excellence of the paintings. It has been more than 20 years since the painter died. Facing the existing, ongoing, and future interpretations and continuous interpretations, it seems that there is always a sense of dislocation that can be added to it, to provide people with inexhaustible. Interpretation of desire: as if a good private place of one's own was discovered, it appeared disappointingly in the sight of everyone. But how would Frida watch all this in another world, and then return to the studio with difficulty, exhausting the last stroke of ink, to smear all this heartbreaking delirium. After all, I still imagined all this with difficulty and in vain.
View more about Frida reviews
