The Tamayo Museum reopens its doors after the rehabilitation project, Chapultepec. Nature and Culture, which carried out remodeling and maintenance works in the collection, documentary and historical archive area, maintenance of the building and its infrastructure with a view to improving the storage and conservation conditions of the warehouse that houses the art collection contemporary, and sought to recover some of the original features of the building.
The exhibition Beyond the trees traces the historical, political and cultural events that marked the years that encompass the construction and opening of the Museum (1979 -1981). The exhibition includes pieces from the museum's collection and other collections by Rufino Tamayo, Erick Meyenberg, Cecilio Balthazar, Joseph Beuys, Ulises Carrión, Andrea Di Castro, Douglas Davis, Rafael Doniz, the General Idea and No Grupo collectives, Marion Gray, Jonathan Hernández, as well as Annie Leibovitz, Sarah Minter, Charlotte Moorman, Andy Warhol, Pola Weiss, Kenneth Armitage, Francis Bacon, Lilia Carrillo and José Luis Cuevas, among other artists. In addition to works by Manuel Felguérez, Mathias Goeritz, Teodoro González de León, Adolph Gottlieb, Virginia Jaramillo, Maria Leontina, Henry Moore, Ben Nicholson, Vicente Rojo, Mark Rothko, Julius Shulman, Francisco Toledo, Waichi Tsutaka and Maria Helena Vieira da Silva . The curatorship was carried out by Magalí Arriola, Humberto Moro, Juan Carlos Pereda, Andrea Valencia and Andrés Valtierra.
The sample is made up of five nuclei in dialogue:
The first, A certain idea of Tamayo, recovers events from the life and work of the founder of the enclosure, Rufino Tamayo. Remembering the exhibition that consecrated his 80 years at the Guggenheim Museum in New York, at the same time that the first stone of the museum that bears his name was placed in our country.
The second reviews the artistic and social complexities behind the opening of the venue through a visual and sound composition made by Erick Meyenberg based on materials from the hemerographic archive that reveals the conflicting narratives that converged during the opening ceremony and reverberated through its mediation.
The third, the Tamayo Museum and the magic box, addresses the relationship between art and television by referring to the early years of the site, when it was a private entity managed by Televisa and prior to its incorporation into INBAL in 1986, which constitutes a reflection on of the way in which artists in Mexico and abroad made use of the media to question their messages and experiment with technology in search of new languages for creation.
The fourth, Unleveling the pyramid or the postmodern Tamayo Museum, proposes a dialogue between the building and the works that constituted the original essence of its collection, as an exchange that allows a subjective, fragmentary and multidirectional reading of the aspect of the history of the art that the Oaxacan creator bequeathed to the people of Mexico.
The last nucleus, A dotted line, runs through the different rooms through a furtive dialogue with the other pieces in the exhibition, and brings together a series of works, mostly made between 1979 and 1981, which set the tone for international production of those years, mainly in the regions in which Tamayo focused his attention (United States, Europe and Latin America). Although some of the artists are not represented in the museum's collection, they have been an integral part of the exhibitions that have fleshed out its history.
Parallel to the opening of Beyond the Trees and with the purpose of continuing to promote activities that dialogue with the public space, the Museum
Tamayo debuts its outdoor pavilion with a project by the TO office, entitled Palimpsest, with the aim of creating ever-changing spatial and lighting environments that visually incorporate the surrounding park environment.
TO is an architecture workshop established in Mexico City, directed by José Amozurrutia and Carlos Facio since 2015. Among its recent creations, the public works projects for the Pilares programs, of the Government of Mexico City, and Urban Improvement stand out. , of the Secretariat of Agrarian, Territorial and Urban Development.