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Quando l'icona supera l'opera d'arte

Fridamania Quando l'icona supera l'opera d'arte

Her exciting life decorated artistic success is tarnished by terrible events, and then the force of her character battling spirit, passionate, who has brought to loving without limits and betray: charming, damned, marked by an unusual destiny and cruel that has involved the nature of a woman, in all the meanings of the term; her paintings, her clothes, her hairstyle, and all of her strong colors, without half-tone, have contributed to capture the attention on her, since the eighties with the ascent of the Neomexicanism and the triumph of figurative language inspired by the Mexican culture, and then continuing in the nineties, when the icon became 'celebrities' and Madonna, Jennifer Lopez, Salma Hayek competed for the part In the film about his life; it became the woman-symbol of the feminist movement around the world, being was she a pioneer of the movement and a rebel to the typical costumes of the age, in the role of wife that tries to emerge from the bulky figure of the husband-artist, Diego Rivera.

 The "Fridamania" that has exploded in recent years, however , is likely to demean and trivialize the enormous intrinsic value of his art, often limited to only some aspects , very commercialized and origin of the mobilization of mass tourism, which has a very passive attitude and not very analytical , typical of this era 2.0.

In the works of Frida, imbued with all his experience and the most intimate nuances of his soul almost as an allegory of the difficulties of life, you feel the entire pre-Columbian culture , and symbols divided between life and death, between the pre-Hispanic culture and medieval Europe , with positive connotations , however, and not catastrophic , an open dialogue with the death sign of the immense love of life that Frida had , and never ceased to convey in his letters and in his paintings.

All this should not escape the eye of the curious public and to his conscience hypercritical , all this should be an integral part of the pilgrimage to the Museum -host of the works , to be able to experience not just purely visual , but also evocative to perceive in Frida its entirety:

"en todas las líneas, en todos los colores, en las vitrinas, en sus mañas, en sus ojos, en su boca en sus mentiras..."