"... At the Hilario Galguera gallery, newly opened in a fortresslike, century-old building, was Damien Hirst's gory new series "The Death of God — Towards a Better Understanding of Life Without God Aboard the Ship of Fools." He conceived the work at his part-time home in the Mexican surf town Troncones. Galería OMR was tucked behind the ornate iron gates of a mysterious Art Nouveau gem in the Roma district. A sun-filled courtyard led to soaring chambers with stark white walls, a warped wooden floor and regal French windows overlooking a verdant park where a group of uniformed schoolboys were having band practice.
Mexico City's extremes — its wealth and poverty, the tranquillity of its leafy parks and the sunburned chaos of its hectic avenues — are particularly conducive to its current edgy creativity. One can start an evening by dining at a guarded garden restaurant in the wealthy Polanco neighborhood and wind up at 3 a.m. at a seedy transvestite bar in the Centro Histórico. Mexico City's affluent seem willing, possibly as result of the trendiness of contemporary art, to embrace street culture in a way that was probably considered too dangerous, or déclassé, 20 years ago.
At the Jumex opening party, for example, many well-heeled attendees wore pressed jeans instead of designer dresses and suits. As a result, the Centro Histórico, the stomping ground of the younger, alternative artists, is an interesting part of town to spend time in right now. (These artists used to hang out in Condesa, but now with the eruption of sidewalk cafes and trendy boutiques there, many consider it too "fresa" — Mexican slang for yuppie or bourgeois.) The Centro, on the other hand, has a feel of fallen, dilapidated grandeur...."
El más importante diario del planeta se tardó en ver esta ola de energía al menos dos años, si les contaramos todo lo que no han visto Nueva York entero podría morirse de envidia...
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