Molestia Atractiva

La historia del mural destruido de Eduardo Carrillo - Nacimiento, muerte y regeneración

By Museo Eduardo Carrillo

Birth, Death and Regeneration – South Wall (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Los murales son considerados las formas de arte más vulnerables, sujetos a los elementos y las necesidades del "progreso" y a los caprichos del juicio comunitario.

Murals are considered the most vulnerable of art forms, subject to the elements and the necessities of “progress” and the whims of local judgment.

El mural de Eduardo Carrillo, Nacimiento, muerte y regeneración estuvo sujeto a esto último.

Eduardo Carrillo’s mural Birth, Death and Regeneration was subject to the latter.

En el transcurso de un fin de semana de 1979, la administración del edificio blanqueó el mural por considerarlo una "molestia atractiva"

Over the course of a weekend in 1979 it was white washed by the building management being deemed an “attractive nuisance.”

Birth, Death and Regeneration – North Wall (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Eduardo Carrillo pintó Nacimiento, muerte y regeneración, también conocido como el Mural de Palomar, en todo el corredor interior, incluido el techo, de un edificio histórico de Santa Cruz.

Birth, Death and Regeneration, also know as the Palomar Mural, was painted by Eduardo Carrillo on the entire interior corridor, including the ceiling, of an historic Santa Cruz building.

Sus dimensiones eran 17'x40'x8 ', un estrecho pasillo abovedado.

Its dimensions were 17’x40’x8’ - a narrow vaulted passageway.

Crucifixión del indio

Crucifixion of the Indio

Birth, Death and Regeneration – Ceiling, Eduardo Carrillo, 1976/1979, From the collection of: Museo Eduardo Carrillo
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En el mural, Eduardo Carrillo exploró la conexión entre las culturas indígenas de México y las influencias cristianas de Europa en un tour de force de imágenes espaciales y alegóricas.

In the mural Eduardo Carrillo explored the connection between indigenous Mexican cultures and European Christian influences in a tour de force of spatial and allegorical imagery.

Birth, Death and Regeneration – South Wall Detail (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Un ser benevolente

A benevolent being

Birth, Death and Regeneration – Ceiling and South Wall (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Una diosa pariendo en el techo…

A birthing goddess on the ceiling...

Birth, Death and Regeneration – East Wall (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Un pescador extiende su red en el muro este.

A fisherman spreads his net on the east wall

Birth, Death and Regeneration – West Wall and Ceiling (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Birth, Death and Regeneration – Detail of West Wall (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Birth, Death and Regeneration - Detail of West Wall 2 (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Birth, Death and Regeneration - Detail of West Wall 3 (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Birth, Death and Regeneration – Eduardo Guiding Apprentice (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

El proceso de creación de "Nacimiento, muerte y regeneración"

Eduardo Carrillo: A Life of Engagement [Spanish Subtitles] (2014) by Pedro Pablo Celedón, Barefoot ProductionsMuseo Eduardo Carrillo

Birth, Death and Regeneration – Eduardo Painting (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Carrillo incluyó a estudiantes y a miembros de la comunidad en la pintura del mural, dándoles experiencia en arte público en un momento en que el valor de tal pieza comunitaria no era ampliamente reconocido.

Carrillo included students and community members in the painting of the mural, giving them experience in public art at a time when the value of such a community piece was not widely recognized.

Birth, Death and Regeneration – Eduardo and Apprentice (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Birth, Death and Regeneration – South Wall 2 (1976/1979) by Eduardo CarrilloMuseo Eduardo Carrillo

Desafortunadamente, en 1979 este magnífico mural fue borrado, robándole a Santa Cruz un distintivo hito cultural y al mundo un mural verdaderamente notable.

Unfortunately, in 1979 this magnificent mural was painted over, robbing Santa Cruz of a distinctive cultural landmark and the world of a truly remarkable mural.

Credits: Story

Curador: Betsy Andersen
Fotografía: Cruz Ortiz Zamarrón y Bill Reynolds
Asistencia técnica: Vicki Winters
Producciones Barefoot, Director Pedro Pablo Celedón

Curator: Betsy Andersen
Photography: Cruz Ortiz Zamarrón & Bill Reynolds
Techical Assistance: Vicki Winters
Barefoot Productions, Director Pedro Pablo Celedón

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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