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10

Aug

A Traveler’s Oasis: Toluca’s Cosmovitral

by Eva Boynton on August 10, 2015

Plant set against the stained-glass walls of the Cosmovitral, a botanical garden and traveler's oasis in Toluca, Mexico. (Image © Dia Glez)

At Toluca’s Cosmovitral—cultivating the cosmos and an entire botanical garden
© Dia Glez

A Botanical Garden Grows Under Glass

As I walked a stone path enveloped by plants from around the world, the light winked a blue-purple and then a red-orange. Plants dangled in the air. Behind supple foliage emerged hard lines of steel supports. Contrasting sounds hit me—bird song and human murmuring; water trickling and car engines rumbling.

What was this ethereal place of such contrasts?

I had stumbled into an unlikely oasis within the city of Toluca, Mexico. Here was both the largest art installation of stained glass in the world and a botanical garden with hundreds of plant species from around the world—the Cosmovitral.

The view of the length of the botanical garden in Toluca's Cosmovitral, a traveler's oasis in the city. (Image © Eva Boynton)

Gardens the length of a football field under a sky of glass
© Eva Boynton

The name Cosmovitral comes from a combination of cosmos and vitral, the Spanish words for “cosmos” and “stained glass.” It is a place where a beautiful work of human design—the glass mural—meets a marvel of nature’s design—the botanical garden. For me, it was a traveler’s oasis.

Stained glass panel at the Cosmovitral, a botanical garden and traveler's oasis in Toluca, Mexico. (Image © Eva Boynton)

Cosmic details of night and day in the ceiling panels at Toluca’s Cosmovitral.
© Eva Boynton

Venerable Roots and Worldwide Sprouts

At Cosmovitral, birds whiz from an African tree to the metal arches supporting the building that once was Toluca’s first grand market.

Built in art deco style, the original market building resembled a train station with clear glass above concrete walls. It opened in 1910 to celebrate the 100-year anniversary of the start of the Mexican Revolution and operated until 1975.

Thanks to Yolanda Sentíes, the first female mayor of Toluca, and artist Leopoldo Flores Valdés, the market building would have a creative new life.

Flores imagined the old glass walls of the market as a mural in stained-glass, with no beginning and no end. The city envisioned a botanical garden underneath. Five years later in 1980, the Cosmovitral opened. Today, more than 400 species from all over the world grow there.

plants

Plants growing in Cosmovitral, a botanical garden and traveler's oasis in Toluca, Mexico. (image © Eva Boynton)

Plants from many countries, such as
South Africa and Japan (bottom), grow side by side in Cosmovitral.
© Fanny Murguia (images 1-3) and Eva Boynton (image 4)

Harvesting Light

It took 45 tons of glass in 28 different colors to create the 71 stained glass panels in the Cosmovitral. Imported from Italy, Germany, France, Belgium, Japan, Canada and the USA, the glass lets light seep through walls and cast its colors on the gardens below.

Flying owl in a stained glass panel from the wall of the Cosmovitral, a botanical garden and traveler's oasis in Toluca, Mexico. (Image © Odette Barron Villegas)

Blue and purple reflections fall from a flying owl.
© Odette Barron Villegas

Leopoldo Flores and about 60 artisans created the windows across a 3-year period, using 25 tons of lead and about 500,000 pieces of glass. Blues are dominant on the north side with brighter colors on the south side.

Close-up showing the many pieces that make up a stained glass panel at Cosmovitral, a botanical garden and traveler's oasis in Toluca, Mexico. (Image © Jennifer Doofershmirtz)

Piece by piece, a masterpiece is made.
© Jennifer Doofershmirtz

The mural makes a statement on mankind’s connection to the universe. In the book El Estado de México, Gerardo Novo explains:

The theme depicted by the windows centers on universal dualities and antagonisms, the struggle between life and death, good and evil, day and night, and creation and destruction, all shown in cosmic continuum.

Light plays the essential role in illuminating the theme.  As the sun moves through the sky, different stained glass windows take prominence. Here humans plunge through swirling reds, oranges, and yellows, colliding headfirst with life and death.

Humans seem to fly through tones of a red and orange stained glass window at the Cosmovitreal, a botanical garden and t raveler's oasis in Toluca, Mexico. (Image © Eva Boynton)

Stained glass often relates to places of worship.
Perhaps Cosmovitral is just that—a place to pay honor to a cosmic connection.
© Eva Boynton

At one end of the building, light pierces a wall of glass, revealing the awe-inspiring Hombre Sol (Sun Man) that has become the symbol for Toluca. Here mankind is depicted in harmony with the universe.

Stained glass of man with red orange colors at the Cosmovitral, a botanical garden and traveler's oasis in Toluca, Mexico. (Image © Eva Boynton)

With the alignment of the sun at the spring equinox,
Hombre Sol takes on a cosmic, fiery glow.
© Eva Boynton

Digging Deeper

With such light on the matter, Oh, I see the dualities in our universe.

I see how opposites—day and night, good and evil, life and death—have their own connection in the cosmos. I see the cycles of life. Even the plants growing at Cosmovitral are fed by nutrients of decaying organic matter with life and death ever present and ever important to the continuum.

The very dualisms represented in the vast murals are tightly connected, leaded together in fact, as they interact within the same universe.

Here, at my traveler’s oasis in the Cosmovitral botanical garden, I question if opposites are really opposing at all.

Exit at Cosmovitral, a botanical garden and a traveler's oasis in Toluca, Mexico. (Image © Eva Boynton).

A final glance through the exit back into the garden and
a last reflection on the dualities of our universe
© Eva Boynton

Find info on visiting Cosmovitral and more photos here. 

Comment on this post below, or inspire insight with your own OIC Moment here.

 

Mexico/Nature Discovery/The World's Art & Design

20

Jul

Opening Eyes to the Cultural History of Africa

by Meredith Mullins on July 20, 2015

Portrait photography of Ikhlas Khan by Omar Victor Diop showing a cultural history of Africa. (Image © Omar Victor Diop. Courtesy of Galerie MAGNIN-A.)

Ikhlas Khan, from the Diaspora series, 2015
© Omar Victor Diop. Courtesy Galerie MAGNIN-A, Paris

Omar Victor Diop’s Transformative Portrait Photography

The room is alive with cultural history. The photographs exhibited in the Grande Halle of the Rencontres d’Arles are rich in texture and color. The historic African figures are presented formally, elegantly, powerfully. Their pride shines through.

As the photographer Omar Victor Diop explains, “They seem to say, ‘Look at me. I was here. I did this.’”

The portrait photography in Diop’s exhibit “Diaspora,” which recently opened at the Arles festival of photography, transports us to another time. The images are not just a sensory journey into the cultural history of Africa, but are also a making of history of the artistic kind. The 34-year-old artist has something compelling to say.

Omar Victor Diop at the Rencontres d'Arles exhibit, showing his portrait photography based on the cultural history of Africa. (Image © Meredith Mullins.)

Omar Victor Diop at the opening of Diaspora at the Rencontres d’Arles in France
© Meredith Mullins

Diaspora—Exile, Dispersion, Exclusion

What do the subjects of Diaspora—Jean-Baptiste Belley, Ikhlas Khan, Frederick Douglass, Dom Nicolau, and August Sabac El Cher—have in common?

“Most of them were born into or sold into slavery,” Diop points out. “They all managed to be very influential—in areas that were not ready for them, with people who did not recognize them even as human beings. These men transformed the negative into something positive that lasted throughout the century.”

These historic figures are not particularly well known. Diop had not even heard of them before he began his research, although some were born not far from his home in Senegal.

He dove into history to find these “exotic others” and then embarked on an art history journey to find the original artworks that immortalized them (created from the 15th to 19th centuries).

Dom Nicolau, prince of Kongo, in the portrait photography of Omar Victor Diop, based on the cultural history of Africa. (Image © Omar Victor Diop. Courtesy of Galerie MAGNIN-A.)

Dom Nicolau, 2014/Série Diaspora
© Omar Victor Diop. Courtesy Galerie MAGNIN-A, Paris

The subjects range from Dom Nicolau, Prince of Kongo (known for his public protest of colonialism) to Juan de Pareja, a slave in the household and workshop of the painter Velázquez (painted by Velázquez around the time de Pareja was granted his freedom).

And from Ayuba Suleiman Diallo (author of one of the earliest slave narratives), to Frederick Douglass (a leader of the abolitionist movement in America and the first African American to be nominated for Vice President of the Unites States).

Angelo Soliman in portrait photography of Omar Victor Diop, based on the cultural history of Africa. (Image © Omar Victor Diop. Courtesy Galerie MAGNIN-A.)

Angelo Soliman, 2014/Série Diaspora
© Omar Victor Diop. Courtesy Galerie MAGNIN-A, Paris

A Closer Look: Oh, I See a Common Spirit

When we look closely, we find that the photographs have even more in common. The subjects all have the same face. Diop has transformed himself into these historic figures, while he mirrors the original artwork in costume and style.

As he worked alone in the studio to make these images, he admits to feeling as if he were having a conversation with each subject.

“I felt very emotional at times, as if the historic figure was there with me. Each session felt like a prayer. These stories were beautiful enough that they had to be told and shown.”

A Kindred Soul

Of all his Diaspora subjects, Diop feels closest to Jean-Baptiste Belley. Belley was born on the island of Gorée, only two kilometers away from Diop’s birthplace.

Belley was sent to the French West Indies as a slave, but managed to buy his freedom and moved to France.

Jean-Baptiste Belley is shown in Omar Victor Diop's portrait photography, as part of a series on the cultural history of Africa. (Image © Omar vVictor Diop. Courtesy of Galerie MAGNIN-A.)

Jean-Baptiste Belley, 2014/Série Diaspora
© Omar Victor Diop. Courtesy Galerie MAGNIN-A, Paris

Diop adds to the story, “In France, he was a member of the National Convention and a part of the revolution Dream Team who gave birth to the French Republic. Very few people know about Belley. Not in France. Not in Senegal.”

“He wanted a better world and fought for it,” Diop continues, with reverence and respect. “He was enslaved by the same people for whom he later fought. The story deserves to be told . . . as often as possible.”

Ayuba Suleiman Diallo in the portrait photography of Omar Victor Diop, based on a cultural history of Africa. (Image © Omar Victor Diop. Courtesy of Galerie MAGNIN-A.)

Ayuba Suleiman Diallo, 2014/Série Diaspora
© Omar Victor Diop. Courtesy Galerie MAGNIN-A, Paris

The Soccer Connection

When we take one more close look, we see that each photograph also has a subtle connection to soccer (football)—a ball, a shoe, a referee’s whistle, a glove.

Diop uses these elements to provide a common contemporary thread to unify the original artwork, which crossed several centuries.

More important, he sees a similarity between these historic heroes and the African soccer players.

Just as the heroes of the past achieved glory and recognition, so do the soccer players of today. And, just as these historic figures suffered from racism, so too do the players of today.

“With soccer players, there is a very interesting blend of glory, hero-worship and exclusion,” Diop explains. “Every so often, you get racist chants or banana skins thrown on the pitch and the whole illusion of integration is shattered in the most brutal way.”

We are reminded of the past and the present.

El Moro, Moroccan man, in the portrait photography of Omar Victor Diop, based on the cultural history of Africa. (Image © Omar Victor Diop. Courtest of Galerie MAGNIN-A.)

El Moro, 2014/Série Diaspora
© Omar Victor Diop. Courtesy Galerie MAGNIN-A, Paris

The Future

What is in the future for this thoughtful young artist? What projects come next after his memorable portrait photography exploring the cultural history of Africa?

“My goal is to leave a body of work that has the ability to speak to everyone,” Diop says and adds that he doesn’t mean to sound pretentious. “Of course I’m African. I’m a proud African. But I’m curious about the rest of the world. I want to be influenced by different societies and contexts.”

He sums it up simply and powerfully: “It’s all about celebrating humanity. It’s about what binds us together.”

As an artist (and a humanist), Diop has wisdom way beyond his years.

Omar Victor Diop‘s exhibit at the Rencontres d’Arles is open through September 20. His work can also be seen at the Galerie MAGNIN-A in Paris and at PhotoQuai, sponsored by the Musée Quai Branly (beginning 22 September).

Comment on this post below, or inspire insight with your own OIC Moment here.

 

Africa/Cultural Heritage & Traditions/The World's Photography

08

Jun

Climb into a Painting and Take Some Selfies

by Meredith Mullins on June 8, 2015

Boy stepping out of interactive 3D art, a replica of a painting by Vincent Van Gogh, provides rich opportunities for selfies in the interactive Art in Island Museum in the Philippines. (Photo Courtesy of Art in Island Museum.)

Becoming part of the art
(photo courtesy of Art in Island Museum)

Interactive 3D Art Takes Hold in the Philippines

Somewhere deep in our dreams, we all want to be famous—or at least the lead actor in a production or the star of the moment.

I sang my heart out as an 8-year-old, in the secluded corners of our house, with a broomstick microphone in hand. I knew the words to every musical. I pictured myself accepting the Oscar (with great humility and a speech that brought tears to every member of the audience). Didn’t happen.

Young woman pretending to hold mouth of sea monster open in the interactive 3D art painting, which provides rich opportunities for selfies in the interactive Art in Island Museum in the Philippines. (Photo courtesy of Art in Island Museum.)

Open wide
(photo courtesy of Art in Island Museum)

3D Dreams at Art in Island Museum

Thanks to the Korean creators of a new interactive 3D art museum in the Philippines, these kinds of dramatic-role dreams can come true for all of us non-celebrities. Visitors can become stars of selfies, letting their inner actor emerge.

Bring your own costumes, props, and creative spirit . . . and step into a world of phenomenal 3D art.

Lights

Action

Camera

Person pretending to be a mermaid in the interactive 3D art painting, which provides rich opportunities for selfies in the interactive 3D Art in Island Museum in the Philippines. (Photo courtesy of Art in Island Museum.)

Mermaid-inspired creativity
(photo courtesy of Art in Island Museum)

Innovations that Inspire

The Art in Island Museum opened six months ago in Quezon City, north of Manila, and is already a bricks-and-mortar—and viral— sensation.

The CEO, Yun Jae Kyoung, decided to open the museum in the Philippines because of Filipinos’ love affair with taking selfies and sharing them with people they care about on social media.

It is one of the largest 3D art museums in the world, with a variety of “trick art” paintings.

High angle shot of the interior of the Art in Island Museum in the Philippines, a place rich in opportunities for selfies and the experience of interactive 3D art. (Photo courtesy of Art in Island Museum.)

One of the themed rooms at the Art in Island Museum
(photo courtesy of Art in Island Museum)

The large murals were designed by a team of Korean master painters to give the illusion of depth and to allow visitors to become part of the art.

The art spans the spectrum, from interpretations of iconic paintings—such as Van Gogh’s “The Church at Auvers,” Munch’s “The Scream,” and Fragonard’s “The Swing”—to optical illusions where the realities of size, space, and gravity are in question.

Man catching a shoe in front of the ED art replica of Fragonard's The Swing, providing rich opportunities for selfies at the 3D interactive Art in Island Museum in the Philippines. (Photo courtesy of Art in Island Museum.)

An interpretation of Fragonard’s “The Swing”
(photo courtesy of Art in Island Museum)

Visitors can climb walls, take a gondola ride, balance on ancient tombs, surf the perfect curl, or dunk a basket, no matter their skill, age, or height.

Young man dunking a basketball in the 3D interactive painting, providing rich opportunities for selfies at the 3D interactive Art in Island Museum in the Philippines. (Photo courtesy of Art in Island Museum.)

A slam dunk
(photo courtesy of Art in Island Museum)

The Museum’s Priority: Go Crazy

This is a museum that defies the standard rules. You can touch things. You can climb on things. You can take as many photographs as you want and stay as long as you like.

The human interaction with the art is as fun as the art itself, since creative and comical poses are encouraged.

Boy appearing out of proportion looks a smaller person in large chair in the 3D interactive painting, providing rich opportunities for selfies at the 3D interactive Art in Island Museum in the Philippines. (Photo courtesy of Art in Island Museum.)

Size may or may not matter.
(photo courtesy of Art in Island Museum)

If you can’t take a selfie in a particular painting (and, let’s face it, you’ll need an XXL selfie stick or smartphone remote to make a self-portrait with this large-scale art), the museum staff are available to serve as paparazzi.

The only rule: you can’t wear shoes, since they might damage the painting on the floor. Bring some socks, go barefoot, or use the museum-provided comfy slippers.

Person balancing in a 3D interactive painting of ancient ruins, providing rich opportunities for selfies in the 3D interactive Art in Island Museum in the Philippines. (Image © Edgar Alan Zeta-Yap.)

Finding a balance in 3D
© Edgar Alan Zeta-Yap

The Fun of Being Part of Art

The interactive 3D art museum philosophy says, “We want you to be part of art.” Oh, I see the fun people are having and the creativity that emerges as visitors become part of the art. So, I’m all for how these 3D innovations feed the current craze for selfies.

Woman under waterfall in a 3D interactive painting, providing rich opportunities for selfies at the 3D interactive Art in Island Museum in the Philippines. (Image © Edgar Alan Zeta-Yap.)

Illusions of the grandest kind
© Edgar Alan Zeta-Yap

And maybe, after that hunger for fame and self-recognition is fed, we can go to an art museum and fight the urge to photograph the work or photograph ourselves in front of each masterpiece to prove we were “there.”

Instead, we can just spend the moment in awed silence and think about how a work of art makes us feel. That, for me, is the true meaning of interactive art.

Woman in white against the 3D interactive angel wing painting, providing rich opportunities for selfies at the 3D interactive Art in Island Museum in the Philippines. (Photo courtesy of Art in Island Museum.)

We can all be perfect angels.
(photo courtesy of Art in Island Museum)

Comment on this post below, or inspire insight with your own OIC Moment here.

 

Innovations/Philippines/The World's Photography

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