The fourth revival movement of circles of cosmos, the power of movement of light, life and force. The power of the sun that moves its system. Nahui Olin names the constant renovation of universe, the aztec promise of a change, evolution, of the generation of new concepts to name the world. And, without a doubt, Carmen Mondragon made justice to the concept that transformed her into a never-ending artist. Muse, poet, painter, philosopher: a role model that is shown to us behind two green eyes that conquered Mexico, like a sea that wanted to be discovered.
Carmen refused her name in order to
be whoever she wanted, without a beginning, without and end: an eternal self
that evolves with the universe and tangles in our world to bring us something
bigger than ourselves. Mondragón was born on 8th of July in 1893, in a wealthy
home. She spent her childhood in Paris, where she nourished herself with the
new avantgardes that started off.
Some years later, she moved between Mexico and Paris and the ideas of both
states started to grow in her. A women that didn’t want to be subdued, that
dreamt of a freedom that never came, started to think that when her father
couldn’t hold her wings, so would do her husband, and, in a way, she wasn’t
wrong. Her father decided that the time to be married had come and she chose
Lozano, an artist wannabe.
Was on that moment where the family
decided to go aboard and stay in San Sebastian. There, her life changed
forever: her first child died in unknown condition. Some would say that he
stopped breathing; others would say that he felt from his mother’s arms. Lozano
assured that was Carmen who let the child fall. There is no doubt that, on that
very moment, Carmen broke her marriage and something in her soul did it too.
Something that ignited an unstoppable change, just as the universe.
Carmen died to let Nahui Olin rise: a
woman who loved with passion the artist Dr. Alt and, hand in hand, reformulated
the way of knowing each other and the world. A woman who was always dominated
by her thirst of living, her social disagreement, by knowing she was way
different than her friends and searching constantly for growth. Here is where
the myth starts, where the exploration of her own sensuality in order to fit in
a world that belongs to her.
Artists stopped by just to appreciate
her beauty, wanting to represent her, transforming her into poems, artworks,
songs or even murals. Making her beauty immense.
Garduño, a famous photographer
wanted to portray her: she posed next to the sea, in front of the camera as if
it was the eye to a new world. And when those photographs saw the light, he
wanted to expose them in a gallery, in a rebellious exhibition that met the
scandal. Not only for the photographs, but for the contrary dynamic of the
museums and galleries, an offence of the pre-established order that always oppressed
her. Though her sensuality, she claimed her genre, her art and represented herself
as a free woman aware of his beauty and who used her body as an artistic
element. For her, nudity was pure, a way to proclaim her artistic self, her way
to understand the world.
She fought, not only against the stigmas
that were put on her or the times she lived in. She fought with the great ones against
the great. She founded the Mexican feminist league; she fought for woman’s
vote, the legal equality. She was one of the women who fought in the “Unión
Revolucionaria de Obreros, Técnicos, Pintores y Escultores” besides Diego
Rivera o Ferderico Cantú. She even challenged science in an essay against
Einstein’s theory of Cosmic Energy. She challenged the world and it named her
fool, because it was easier to tear her apart than trying to understand her.
And Carmen left all of her: her memories, desires and herself to become just
energy. The Legend was born. The legend of the crazy woman who embraced her
insanity because her era didn’t left her express herself, would write Tomás
Zurián, the man who found a portrait of the girl with green eyes and wanted to
know what was behind. Years before, Zurian would tell that the cosmic energy of
Nahui Olin called him to tell her story, to find her steps.
Nahui Olin was a muse for some, a
lover for others, one of the most important naïf artists in Mexico and a
literary reference that permeate her poetry with her own truth. Today very few
remember her, just because they decided to erase her from a history that
belonged to her.
Feminism in Mexico has many names,
but we can’t find hers. The vindication of woman’s rights isn’t attached to hers,
which faced everything and changed its character. It wasn’t only her fight, it
was her way of living. It was her naked body in the most important houses of
the country, her way to talk, to act, it was the equality that grew inside her
in every way of her life, looking aside when somebody called her “whore” and
looking in the eye to the same man who now wanted to sleep with her just to say
him “no”. It was her passional way of living what condemned her to the stigma,
was her genre, her woman condition what differenced her and what stopped her
from succeed like an artist in her ages. But it was also her vindication of
women’s role what makes her an example, in a path of light, and, without a
doubt, in a legend that nothing has to do with insanity and has everything
related to freedom.
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