The enveloping magnetism of Frida Kahlo

In tune with the

that during the last year was evidenced in art shows, clothing and accessories, books and merchandising inspired by her story, the most famous of the Mexican artists is now also honored in the immersive version Vida y Obra de

, at the Buenos Aires Convention Center (CEC).

The audiovisual production that has already been seen by more than 50,000 people is conceived based on the trust set up by

, the

and the

Casa Frida Kahlo adhere.

, as a corollary of the exhaustive investigation directed by Roxana Velásquez – executive director of the

– and Deidré Guevara, curator of the exhibition

, at the Georges Pompidou Museum in Paris.

Aimed at viewers of all ages and, above all,

, the exhibition implicitly invites sustained interaction with the screens.

And not only with the extensive display that characterizes her, but also outside the CEC, where one of her typical self-portraits, gigantic and sponsored, becomes an obligatory stop for the photographic record in selfie, self-referential –and group– mode that

seek most visitors.

Something that becomes refined, then, in the room in question, the immersive one.

Given the absence of original pieces –although with the clear authorization for their respective reproductions– the exhibition emphasizes not so much the concatenation of dramatic events that marked

, but rather her passion for life and, mainly, It supports the recreation of a hundred plastic works, texts and photographs, in addition to the still novel data of the staging, based on the grandiloquence of the technological resources that it uses.

Remember that the only exhibition of this type was the one that themed on

, presented last year.

The exhibition is based on Frida Kahlo's Diary: An Intimate Self-Portrait, a facsimile version of the diary.

Focusing on the already emblematic

, the literary work that includes the facsimiles of her personal blog, full of drawings and calligraphic expressions, that the artist produced during the last ten years of her existence, is the axis transversal that defines the curatorial script of the

, the first three being those that respond to the most traditional museums to end in the immersive room.

"Feet why do I want them if I have wings to fly."

That phrase used in 1953, one of the many reflected in the pages of the reference book, is now replicated in one of the exhibition sites, as is the self-portrait that served as the cover of that text and the allusions to its sources of inspiration,

, in addition to everything that came with the tragic event that made her a painter.

There are also exposed the fabrics suspended in the air, with reproductions of some of his most recognized works: "Self-portrait with short hair", "Self-portrait with velvet suit" and "The two Fridas", among others, being the threshold that precedes to the final section, where the video of domestic aesthetics starring Diego and Frida is exhibited, within the framework of

, in the Coyoacán neighborhood, Mexico City.

weird, like immersive

Finally, in the enveloping room, the center totem stands out –which, although it fails to generate the mystique of the little chapel set up in the Malba for the presentation of “Diego and I”, the latest acquisition of that museum– is at least

for the directed reflection of the audiovisual itinerary, lasting between thirty and forty minutes, which offers 360º videomapping projected on the walls and the floor of the place in a reinterpretation of Frida's artistic and personal journey.

Although there are no original works, the reproductions are authorized by the artist's legacy.

Divided into three passages, if the first concerns the references to his close ties with his contemporaries, highlighting

, Man Ray and

, among other surrealist intellectuals and artists;

the second, delves into his origins, where the story of Guillermo Kahlo, his German father, is mixed with the Mexican Matilde Calderón, his mother from Oaxaca, as well as a detailed review of the fateful crash between the bus and the trolley car.

Finally, the third, where, once again, there is the eternal return to the Blue House, his last resting place.

In turn, the continuity of frames that amplify her works are accompanied by first-person accounts, by

, and the soundtrack produced especially for the exhibition –recorded by the Budapest Art Orchestra– It is characterized by the cinematographic techniques used by the composer and pianist Arturo Cardelús, who incorporates various instruments and sound effects, as well as European and Mexican musical references.

The truth is that, at the end of the immersive experience, the viewer is provided with

as a woman, artist and icon, in a didactic format, and at the same time diversified, fragmented, and above all, virtualized, in tune with the wishes of this era.

From which, each visitor can make the pertinent appropriation with the certainty of taking the version of his own portrait of Frida.

It is enough to observe the mural –also sponsored– that closes the exhibition and is made up of drawings by children, young people and adults, who took advantage of the playful instance to decorate the already printed outline of the Mexican woman's face.

Thus, without any itch, there is the daring one who scribbled a rocker Frida with make-up worthy of a tribute to Kiss or the one who attributed her long blonde hair and the reference to a Taylor Swift pop song,

Life and work of Frida Kahlo

BA Convention Center, Av. Pres. Figueroa Alcorta 2099

Tues and Wed from 4 to 9 pm;

Thu to Sun from 2:00 p.m. to 9:00

until April 2

adults from $3,900

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Tears of blood and an onyx rosary

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Immersive art: from the bowels of the work