Exhibition reveals Poniatowska's pictorial side

▲ The Wheel of Fortune , oil on canvas by Elena Poniatowska. Photo by Luis Castillo

▲ The writer and journalist next to a painting she created based on a dream her mother had. Below, Jan's Great Journey , oil on canvas inspired by her brother, and Tribute to My Sister Kitzia , oil on canvas. Photo from La Jornada archives and Luis Castillo

Merry MacMasters

La Jornada Newspaper, Wednesday, July 9, 2025, p. 2

A sense of luminosity and rest is what Elena Poniatowska experiences when she paints. This little-known facet of the journalist and writer is now made public in the exhibition *History of a Friendship * by Elena Poniatowska and Diego Lamas, held at the Lebanese Center.

Brightness because for several years, Elenita, as she is affectionately known, has been taking painting classes every Saturday in the dining room of her house, a room open on all sides , allowing plenty of light to enter. The large dining room table, instead of succulent dishes, now houses painting materials. She and two other students, Diego Lamas, a painter, and Stephanie Brewster, a filmmaker, are taught by Enrique López Pacheco, from 11 a.m. to 2 p.m.

During the week, Lamas takes classes daily at her home, where Poniatowska met López Pacheco, as she is a friend of Marta Lamas, the mother of her classmate. Diego has already held several exhibitions, but the one at the Lebanese Center is the first for the 2013 Cervantes Prize winner.

López Pacheco himself organized the exhibition, which featured a total of 74 works: 27 by Elenita and 47 by Diego, all painted in oil. In addition to the paintings, the curator has documented the life of Poniatowska and her family since they arrived in Mexico in 1943.

In 2011, the writer confided to this newspaper that "perhaps she'll decide to devote some time to painting, an activity she's been curious about. In fact, Poniatowska has painted fragments of a couple of paintings: the yellow flowers of a beautiful field where the figure of her mother walks, and the tricolor skirt of a China poblana woman."

It's a world, he adds, that's incredibly helpful and calming, because you enter another time, another rhythm; it's much more soothing than writing.

The author of La noche de Tlatelolco began painting several years ago, but interrupted her classes due to the pandemic, although she resumed them in 2023. Painting is a beautiful hobby that also does you a lot of good , she comments in a chat with La Jornada .

–What's it all about?

–Anything I can think of. Easy topics. It's like something Sunday, a treat, a pleasure. It's something I take to fill the life of a 93-year-old woman on the weekends because my grandchildren are bored with a grandmother. So, it's a remedy for loneliness.

Figurative work

Her paintings are rather large, figurative. For example, one of her brother Jan, who died at 21 and was a keen swimmer . He is seen swimming in the sea. She also has several works of ballerinas in their tulle costumes, a reference to her sister Kitzia, who died just this year and who studied ballet. She paints in oils as if she were a painter .

Poniatowska emphasizes a painting that, due to its large size, is not in the exhibition. At the end of her life, my mother told me that as a child, when she lived in Biarritz, she had a dream that made her happy. She was from a Porfirian family who, after losing their estates and other possessions, went into exile in France. She told me that she dreamed of a field of yellow daffodils and that she had woken up very happy. I painted the painting later to please her. Master Enrique helped me with the female figure accompanied by her dachshund .

Poniatowska and Lamas's painting styles are very different. For Elena, it's "just fun, something outside the context of journalism and literature. It represents a moment of peace. 'Imagine,' I tell her, 'this is the part.' She starts painting it and after a while, she gets excited. She looks so beautifully happy that you say, 'How wonderful.' The subject of her mother, her arrival in Mexico, her story, always comes up. I don't know if this happens to all of us as we grow up, that we recount our history," López Pacheco points out.

Regarding Lamas' work, it is more related to revisiting the idea of ​​Renaissance and Baroque painting and making certain modifications to it , the professor notes.

For journalist Beatriz Zalce, a close friend of Poniatowska, “this exhibition intertwines the paths of friendship, art, feminism, and memories. A Story of Friendship is a life lesson. At 93, with all the books she's written and all the awards she's received, Elena Poniatowska is taking painting classes. The teacher is a diligent student. For his part, Diego Lamas is an untimely disciple of the greats like Rembrandt, Da Vinci, and Vermeer. He has traveled the world to closely examine their works. He has assimilated the lessons of color and composition. Diego reinterprets and proposes new perspectives, some filled with humor and playfulness, but also with reflection not without pain.”

History of a Friendship , by Elena Poniatowska and Diego Lamas, will remain at the Lebanese Center (Hermes 67, Crédito Constructor neighborhood, Mexico City) until July 22.

▲ A work by Eduardo Chillida and a photo shoot of Antoni Tàpies; both artists were honored last year for the centenary of their births. This work is part of the exhibition "Gaudi: Unusual Architect and Artist" at the Old College of San Ildefonso (March 2005). Photo by Mónica Mateos, Rogelio Cuéllar, and Marco Peláez

Armando G. Tejeda

Correspondent

La Jornada Newspaper, Wednesday, July 9, 2025, p. 3

Madrid. Following the lead of France's cultural and sports policy, the Spanish government, led by Socialist Pedro Sánchez, decided to include various cultural and sports programs, festivals, and events held throughout the country as events of exceptional public interest . From now on, these events will enjoy a series of tax benefits that will make their implementation more cost-effective. Among the recipients are initiatives such as the Tàpies Year, which culminated last December; the Gaudí Centenary, which will be celebrated in 2026; the celebration of the 150th anniversary of the birth of cellist Pau Casals; Eduardo Chillida and his centenary; the Primavera Sound pop music festival held in Barcelona; and even sporting competitions such as the preparation of athletes for the 2028 Los Angeles Olympics or the Calella-Barcelona Ironman, among others.

The Spanish government's Council of Ministers has agreed to approve a decree law , which must be endorsed by Congress. It deems events of public interest due to their exceptional nature, derived from their cultural, sporting, or other relevance, as well as their international dimension, economic impact, and social impact . This type of status, which entails not only generous tax benefits but also financing plans and public subsidies, is very common in other European countries, especially in France, where one of the pillars of its economy and development is its cultural, sporting, and entertainment industries.

The Spanish government, at the initiative of the Minister of Culture, Ernest Urtasun, from Barcelona, ​​selected a wide range of events and celebrations; for example, in Catalonia, the Barcelona Music Lab: The Future of Music program; the commemoration of the eighth centenary of the Gothic cathedral of Toledo, Spain's first cathedral; the celebration of the Jacobean Holy Year 2027; the commemoration of the Centenary of the Generation of '27; the Classical Music for All program; and the celebration of the sesquicentennial of the birth of Pau Casals.

In addition to these events, the following will be considered events of exceptional public interest: the 25th anniversary of the Petit Liceu; the Joan Miró Foundation 50th Anniversary program; the 2026 Gaudí Centenary celebration; the 50th anniversary of the Teatre Lliure; the Porta Ferrada Festival; the 20th anniversary of the Bilbao BBK Live Festival; the 75th edition of the Granada Music and Dance Festival; the 150th anniversary of the birth of Manuel de Falla; the Dansàneu: Festival of Cultures of the Pyrenees; the San Diego Comic-Con Málaga; and the Preparation Program for Spanish athletes for the 2028 Los Angeles Games.

Also considered were the Women's Universe IV Program; the Spanish Motorcycle Grand Prix; the Inclusive Sport III Program; the 2030 Plan to Support Grassroots Sports II; the Ironman Calella-Barcelona event; the Barcelona Mobile World Capital program; the Barcelona 2026 World Capital of Architecture program; and the Canary Islands Rally.

According to the Spanish government, these events of exceptional public interest have become a valuable tool in recent years for ensuring private financing for sporting events and competitions by facilitating access to tax incentives for entities that collaborate in their development .

▲ The Tree of Wisdom , by Elsa Naveda. Photo courtesy of the artist .

Eirinet Gómez

La Jornada Newspaper, Wednesday, July 9, 2025, p. 4

Public art is a place for reflection, for questioning, for evocation, for uniting people who love each other , said Elsa Naveda, a Mexican ceramist with a career spanning both sculptural and functional work. Naveda won the Sculpture Prize, awarded by the University of Veracruz (UV) in the context of its 80th anniversary, for her work The Tree of Wisdom .

In an interview with La Jornada regarding the recent unveiling of the sculpture in the Plazoleta Tlaqná, located between the concert hall of the Xalapa Symphony Orchestra and the Library and Information Services Unit, he reflected on public art, the Xalapa ceramic school, and the concept that gave rise to the award-winning piece.

"It's an analogy between a tree and a human being: we have a trunk, branches, roots, fruits, and seeds, which, when they fall, nourish the tree again ," he explained. He emphasized that its location enhances its significance: it's surrounded by classical music, opera, and a bibliographic collection. It seems to me the ideal place for a sculpture that celebrates wisdom as a living, cyclical, and collective force ."

Founder of the independent studio Tepalcate, Naveda believes this piece marks her return to public art after several years dedicated to other ceramic formats. Her commitment to this type of expression dates back to the International Symposium on Monumental Sculptural Ceramics, which she organized in 2007 in Xalapa, Veracruz.

That meeting brought together figures such as Gustavo Pérez, one of Mexico's most important contemporary ceramists; Danish artist Nina Hole (1941-2016), founder of CLAY, the Museum of Ceramic Art Denmark; and South African artist Priscilla Mouritzen. Ten sculptures were created at the event and donated to the city for installation in public spaces.

The work Naveda presented at that symposium, Cruceta , was located on Circuito Presidentes Avenue. Xalapa is a very cultured city, but public art was restricted to busts of politicians. Something was needed that would engage citizens in a different way. That's why we organized the symposium, to create a ceramic presence in the urban space , he explains.

After the call for entries launched by the university, he saw an opportunity to return to this theme. He didn't know if he would win, but it was a chance to put one of his pieces in an open space .

Naveda recalls that five decades ago, Xalapa only had the ceramics workshop at the UV Faculty of Arts and another at the Technical Industrial School No. 3. Today, however, the city is home to more than 45 independent workshops, thereby consolidating a presence of ceramists with diverse proposals.

In his opinion, three factors were key to strengthening the movement: the arrival of María de Cervelló Bofill (Barcelona, ​​1937-2021) and Japanese ceramists who taught at the UV, as well as the active presence of Gustavo Pérez and the creation of the first bachelor's degree in visual arts with a specialty in ceramics at this same university.

This caused workshops to spring up like mushrooms in Xalapa, many of them with interesting proposals , he commented.

As a testament to this dynamism, it's worth noting that ceramists trained in the city have been recognized in important competitions such as the National Ceramics Award, held in San Pedro Tlaquepaque, Jalisco, one of the country's most prestigious awards in this discipline.

Among the young artists, Naveda mentioned Perla Camacho, a UV graduate with a bachelor's degree in visual arts. She founded the El Aguacate workshop in 2018 with her partner, Gibrán Tanos, also a ceramist. Their work is very interesting because they teach classes, research glazes, and maintain a constant production .

He also praised the work of Julio Sahagún Sánchez, whose pieces engage with both pre-Hispanic art and contemporary high-temperature ceramics, as well as that of Rabí Montoya, who developed a series of porcelain sculptures.

People from different parts of the country know about the ceramics workshops in Xalapa and come here to continue their training and creative work. They're all making their own way , he noted.

▲ The piece, confiscated from the Ebrié ethnic group in 1916, was sent to France in 1929, exhibited at the Trocadéro Museum, and then at the Quai Branly Ethnological Museum in Paris. It was restored in 2022. Photo taken from the website of the Ivorian Ministry of Culture and Francophonie.

AFP

La Jornada Newspaper, Wednesday, July 9, 2025, p. 4

Paris. The French Parliament on Monday authorized the return to Ivory Coast of the Djidji Ayôkwé talking drum , a sacred instrument stolen by colonial France more than a century ago.

French President Emmanuel Macron pledged in 2021 to return it to this former French colony, two years after Abidjan's official request.

Measuring 3 meters in length and weighing 430 kilograms, this drum was used to transmit ritual messages and warn villagers during forced recruitment or military enlistment operations, among other things.

Confiscated from the Ebrié people in 1916, it was sent to France in 1929, displayed at the Trocadéro Museum, and then at the Ethnological Museum on the Quai Branly in Paris. It was restored in 2022.

The drum's return will contribute to the reparation of an extortion committed during the colonial era, a testament to our awakening of conscience , said Congressman Bertrand Sorre.

The National Assembly (lower house) unanimously approved on Monday the declassification of this French cultural asset, as the Senate did in April.

In a statement, the Ivorian Ministry of Culture welcomed the upcoming return of Djidji Ayôkwé , which is part of a broader vision of cultural reappropriation .

Although Abidjan had hoped for its return by Independence Day on August 7, it could be delayed until after the completion of work on the Museum of Civilizations, Silvie Memel Kassi, an expert in charge of the return of cultural property at the Ivorian Ministry of Culture, told AFP.

Only 27 works have been officially returned to African countries since a law passed in December 2020: the 26 Treasures of Abomey to Benin and the Sabre of El Hadj Umar to Senegal.

The deputies urged the government to adopt a framework law that Macron promised to expedite the restitution of objects looted during colonial times.

In 2023, France adopted two similar laws: one to restore property stolen from Jewish families between 1933 and 1945, and another to regulate the return of human remains from public collections.

Sputnik

La Jornada Newspaper, Wednesday, July 9, 2025, p. 4

Geneva. The Swiss delegation to the Parliamentary Assembly of La Francophonie presented a resolution urging other French-speaking countries to contribute to the restitution of cultural property stolen during colonization, according to a statement on the Swiss Parliament's website.

From July 9 to 13, Paris will host the 50th Parliamentary Assembly of La Francophonie, bringing together representatives from 91 parliaments to discuss democracy, human rights, and cultural diversity.

In presenting the resolution, the Swiss delegation wished to raise awareness among its French-speaking counterparts about the need to adopt measures to facilitate the restitution of cultural property stolen during the period of colonial rule , the document states.

Switzerland intends to propose to the states and governments of the French-speaking world that they adapt the principles of the Washington Conference—originally applicable to works of art confiscated by the Nazis—to the case of cultural property stolen during colonization.

The 1998 Washington Conference, organized by the U.S. Department of State and the Holocaust Memorial Museum, was dedicated to cultural objects stolen by the Nazi regime and was attended by 44 countries. The outcome was the establishment of 11 principles for the restitution of works of art confiscated from Jews.

▲ Song to the Land and to Those Who Work and Liberate It (Song to the Liberated Land) , a work by Diego Rivera at the Autonomous University of Chapingo, was affected by structural movements caused by earthquakes and eventual settlements of the building where it is located. Photo courtesy of Inbal

From the editorial staff

La Jornada Newspaper, Wednesday, July 9, 2025, p. 5

From November 13, 2024 to June 27, restoration work was carried out on Diego Rivera's mural work Song to the Land and to Those Who Work It and Liberate It (Song to the Liberated Land) , located in the Riveriana Chapel of the Autonomous University of Chapingo.

The completion of the intervention, carried out by technical staff from the Mural Painting Workshop of the National Center for the Conservation and Registration of Movable Artistic Heritage (Cencropam), which consisted of stabilizing the layers of fresco painting that were affected by structural movements caused by earthquakes and eventual settlements of the building, was announced yesterday by the federal Ministry of Culture and the National Institute of Fine Arts and Literature (Inbal).

The work on Rivera's project consisted of a general mechanical cleaning, as well as chemical cleaning in specific areas and color restoration. Meanwhile, at the property where he resides, located at kilometer 38.5 of the Mexico-Texcoco Highway in Chapingo, State of Mexico, cracks in the air chambers were consolidated and stabilized through injection and repaired with binder materials.

This intervention was carried out thanks to a collaboration agreement between the Autonomous University of Chapingo and the National Institute of Biological Sciences (INBAL), through Cencropam (Cencropam), to restore the collection of Diego Rivera murals in the university's Riveriana Chapel.

The mural covers 370.23 square meters and was created between 1925 and 1927 as part of a series of frescoes in which the artist depicted the Mexican agrarian struggle and allegories that exalt the regenerative power of nature, the fertility of the soil, and the dignity of peasants.