El Mero Muro, Somos Historia, by Muralist Luis Abreux
“Five hundred years ago the wind changed everything. The fire of ambition devoured Quetzalcoatl and his children mercilessly. The cold metal blinded the innocent blood. Taking lives in exchange for gold was the only feasible plan. But they discovered that Quetzals do not live in cages and cannot die because they are dreams that fly. Now our history lives in the color of our skin, the shape of our bodies, our language. Our culture resists time. Our culture is the resistance of eurocentric values.
My mural is a historical portrait. The satirical style in my work reinforces the theatrics of life and how the most valuable things are relative- like the lives exchanged for gold 500 years ago.”
“500 años atrás el viento lo cambió todo. El fuego de la ambición devoró Quetzalcoatl y a sus hijos sin piedad. El frío metal cegó la sangre inocente. Oro por vida fue el único plan. Pero descubrieron que los Quetzales no viven en jaulas y no mueren porque son sueños que vuelan. Ahora la historia vive en el color de nuestra piel, en la forma de nuestros cuerpos, nuestro lenguaje. La cultura resiste el tiempo. La cultura es la resistencia de valores eurocéntricos.
Mi mural es un retrato histórico. El estilo satírico en mi trabajo refuerza la sensación de la vida como teatro y de cómo las cosas más valiosas pueden ser relativas- como el oro por la vida hace ya 500 años.”
Luis Abreux was born in 1971. He earned his Master’s degree in Fine Art, specializing in Painting, in 1995 from the San Alejandro Art Academy in Havana, Cuba and attended the Taller de Técnicas Subliminales en el Arte y la Publicidad. Abreux has resided in Austin, TX since 2005.
With a deliberate creative process, Luis Abreux aims to evoke emotion with his work. Abreux believes that visuals influence and allow the viewer to travel and find new creative dialogue that ultimately lead to creating new solutions. The human, the immigrant, the memory, the interactions of constant escape and the experiences of interminable travel leading the way, the canvas or the paper. His work absorbs and melts the before and now, the fantasy and the reality pictured in a surrealist diary that births real experiences and the absurdities of an experiment. Drawings, collages, mixed techniques, and all other mediums are used to support Abruex’ diverse formats. For Abreux, the idea is the most important.
Tita Griesbach, Malinche I
“Malitzin, Malinche Marina. Great chiefton and daughter of great cheiftons and woman of vassals, you painfully alienate yourself from your race as you are handed to Hermán Cortés.”
“Malizin, Malinche, Marina. Gran cacica e hija de grandes caciques y señora de vasallos, te desprendes con dolor de tu raza al ser entregada a Hernán Cortés.”
Malinche is known by many names. She was baptized as a Catholic by the Spaniards, and then named “Marina”. The Nahua called her ‘Malintzin’. Malinche’s birthdate is unknown, but it is estimated to be around 1500. She was born to local rulers in the Nahuatl-speaking area of Coatzacoalcos. After her father’s death and her mother’s remarriage, she was deliberately given away to people from Xicanlongo so that Malinche’s step brother would have the rights of heir. Next, she was passed on to other nearby Maya-speaking people. Among the Maya people she learned the language. Her learning the Mayan language later enabled her to communicate with Jerónimo de Aguilar, an interpreter for Cortés who spoke Yucatec Maya, as well as his native Spanish. Early in his expedition to Mexico, Cortés was confronted by the Maya at Potonchán. In the ensuing battle, the Mayas suffered significant loss of lives and asked for peace. In the following days, they presented the Spaniards with gifts of food and gold, as well as twenty women, including Malinche.
Malinche’s language skills were soon unearthed, and from then on, Malinche worked with Aguilar to bridge communication between the Spaniards and the Nahua. Cortés would speak Spanish with Aguilar, who translated into Yucatec Maya for Malinche, who in turn translated into Nahuatl, before reversing the process.
Tenochtitlán fell in late 1521 and in 1522 Malinche gave birth to a son by Cortés, Martín Cortés. During this time Malinche stayed in a house Cortés built for her in the town of Coyoacán, eight miles south of Tenochtitlán. The Aztec capital city was being redeveloped to serve as Spanish-controlled Mexico City. Later, Cortes would marry her off to his compatriot Juan Jaramillo. Some contemporary scholars have estimated that she died less than a decade after the conquest of Mexico-Tenochtitlan, at some point before February 1529. She was survived by her son Martín, who would be raised primarily by his father’s family, and a daughter Doña María, who would be raised by Jaramillo and his second wife. La Malinche’s legacy is one of myth mixed with legend, and the opposing opinions of the Mexican people about the legendary woman. Some see her as a founding figure of the Mexican nation, while others continue to see her as a traitor— Mexican feminists defended Malinche as a woman caught between cultures, forced to make complex decisions, who ultimately served as a mother of a new race.
Thank you to Our Sponsors
Learn more about the Mexic-Arte Museum
Exhibition and Art Education Programs Support: 3M, AeroMexico, Ampersand Art Supply, Trey Andrade, Applied Materials, Austin Community Foundation/Stand with Austin, Austin Convention Center, Austin Independent School District Creative Classrooms, Austin Latino Coalition, Charles Beckman, Michael Best, Bloomberg Philanthropies, Brown Foundation, Brown Distributing Company, Dr. Frank Cardenas, City of Austin Community Youth Development Program, Clay Imports, Endeavor Real Estate Group, Fonda San Miguel, Tom Gilliland, Graves Dougherty Hearon & Moody, Juan J Gutierrez and Rosa K Gutierrez, H-E-B, H-E-B Tournament of Champions, GTOPS, Hendler Flores Law, Humanities Texas, Junior League of Austin, JP Peace Love & Happiness Foundation, Mickey and Jeanne Klein, Ann McEldowney, Mindpop, National Endowment for the Arts, Ingrid and James Taylor, Mike Taylor, Michael Torres, Serie Print Project, Morgan Stanley, Efficient Steel, Bettina & Travis Mathis, Elizabeth Rogers, Juan Antonio Sandoval Jr., Rosa Santis & Pedro SS Services, Marina Sifuentes, Susto Mezcal, Texas Mutual, Tito’s Handmade Vodka, Delia Sifuentes, Texas Gas Service, Texas Commission on the Arts, Tribeza, Univision 62, Univision Radio, Lola Wright Foundation, and Jane & Manuel Zuniga.