Mexico City’s Story Etched in Murals of Epic Struggles

Regional History, Travel
Museo Frida Kahlo, Coyoacán

For the artistically and culturally-inclined no trip to Mexico City is complete without a taste of its monumental art. Regrettably, due to a combination of a double-booking in the tour itinerary and the distance from our hotel, I wasn’t able to fit in a visit to the Frida Kahlo Museum during my few days in the capital…its location in Coyoacán (“place of coyotes”) was down in the southern afueras of the city. I had hoped to redeem the omission on my return to Mexico City after our stint in Cuba, however I found myself doubly thwarted as my only full return day in the capital was on a Monday (the day of the week all museums, in this city with the most number of museums in the world, is closed!).

Stairway triptych on the Conquista

Having missed out on seeing Frida’s colourful azure casa made me more determined to at the very least take in a truly representative sample of her partner Diego Rivera’s public and very political art. Before the trip I had promised myself to try to get a glimpse of Rivera’s famous mural at the University of Mexico, but I gave that up when I discovered it was located a bit too far away in the opposite direction. As a compromise (but a very good compromise as it turned out) we opted to stay around Centro and make for the Zócalo, the mayor square of CDMX. On one side of the Zócalo sits the imposing fortress-like Palacio Nacional to view Rivera’s great “History of Mexico” series of murals. Palacio Nacional or the grounds on which it lies in Cuauhtémoc has been the seat of power in Mexico since the Aztec Empire.

Palacio jardens

Entrance into the National Palace was free but queues coupled with heavy security held things up and made the process a bit of an obstacle course. Passports had to be shown and tourism police were en mass at the entrance and liberally sprinkled all over the complex. To reach the colonnaded central courtyard of Constitution Square we first passed through a spectacular and varied Mexican desert garden, a botanical bonanza full of agaves, cacti, yuccas and other hardy desert plants intersected by circular and diagonal pathways.

The murals took up huge slabs of wall space on the first floor of the palace, each mural depicted different phases of Mexican history starting with a scene from life in Pre-Columbian indigenous society. Rivera’s murals are all about social commentary, especially articulating the attitude of the conquerors towards the indígena peoples after contact – the mistreatment and abuses exacted on the Aztecs and other Meso-American Indians. One of the politically committed Rivera’s societal concerns in the mural project was to express through his art a counter-view to the prevailing European perception at the time which tended to wholesale denigrate the mestizo and native populations.

On the staircase between the ground floor and the second floor a very large mural is devoted to Rivera’s take on 20th century Mexico, his summary of society in the first-third of the century…the vast canvas is peopled by an eclectic mix of historical characters with portraits of his beloved Frida, Mexican political figures, American capitalists like Rockefeller, powerful revolutionary warlords Pancho Villa and Emiliano Zapata, and in accord with the artist’s communist allegiances, Karl Marx. This panel is in fact part of a ‘triptych’ of murals which on the stairway – the other monumental sections, reaching up to the ceiling almost, convey the ferocity of Cortes’ assault on the Mexica and the indigenous determined attempts to resist the Conquistadors.

The history murals are a very large body of work undertaken on a massive scale, a monumental project which took Rivera around six years (ca 1929-35)…the murals were intended to encompass all four open corridors of the square building but he never found the time to complete it. There are other large-scale panel paintings by Rivera (does he ever do small-scale?) on the third floor of the building, but the mural depiction of Mexico’s course of history from pre-Hispanic period through the Conquista up to the 20th century are the principal attractions of this magnet for tourists wanting to experience more of CDMX’s distinctive cultural ethos.

On our way out we popped into a side wing of the palace which houses the chamber of the Parliamentary Assemblies, a vacant spatial entity whose sanitised condition and sombre burgundy, claret and vermillion colours give it a feeling of sterility. Revisiting the Mexico jardines on route to the exit for a final glance and picture we noticed some unofficial residents of the palace, a couple of sleek looking cats who, unperturbed by our presence, seemed very much at home in the garden grounds.

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missing out on the Kahlo house also meant I missed the house (now also a museum) of Leon Trotsky just a block away (where he was assassinated on the orders of his rival communist leader Stalin in 1940)
this open courtyard with a central fountain, from which the Diego Rivera murals look down from the second floor balcony, is a favourite place for visitors to the palace to take selfies against a backdrop of elegant white arched columns