Descendimiento de la cruz  -   José de Arimatea

Sudario, de la palabra latina sudarium, significa en su origen un lienzo o pañuelo que sirve para cubrirle el rostro a las personas muertas y demostrarles sus respetos.
Se dice en el Evangelio, Marc, c. 14, v. 51, que un joven que seguía a Jesucristo cuando fue preso en el huerto de los olivos, no tenía más que una sábana para cubrir su desnudez, que los soldados quisieron detenerlo, que dejó su sábana y se fugó, Sansón prometió treinta sábanas, (en hebreo, sindinim) y otras tantas túnicas a los jóvenes que asistían a sus bodas si podían explicar el enigma que les propuso. , se dice que la mujer fuerte hacía sábanas y ceñidores y los vende a los cananeos o fenicios

Leemos en el Evangelio que José de Arimatea para sepultar a Jesucristo compró una sábana, sindonim y en ella envolvió el cuerpo de Jesús.

José de Arimatea es un personaje bíblico que, de acuerdo al Evangelio de Mateo 27:60, era el propietario del sepulcro en el cual fue depositado el cuerpo de Jesús de Nazaret después de su crucifixión y muerte. 

Un «hombre rico» según San Mateo; un hombre «ilustre» según San Marcos; «persona buena y honrada» según San Lucas; «...que era discípulo de Jesús» según San Mateo, «pero clandestino por miedo a las autoridades judías», según San Juan. Marcos comienza señalando que José compartiendo la visión de la venida del Reino de Dios (lo cual Lucas 23:51 repite) entró "osadamente" a pedirle el cuerpo de Jesús a Pilato (15:43). Lucas añade que este varón "no había consentido en el acuerdo ni en los hechos" de los líderes religiosos.

Lo cierto es que los cuatro evangelistas coinciden en contar el mismo episodio donde intervino San José de Arimatea. Jesús acaba de morir en la cruz, Pedro renegó de Él por tres veces en público, los apóstoles se dispersan, pero este hombre solicita al procurador romano Poncio Pilato que le permita dar sepultura al cuerpo de Jesús. Con la ayuda de Nicodemo, desclava el cuerpo de la cruz y lo sepulta en su propia tumba, un sepulcro nuevo, recién excavado en la roca, donde se encuentra la basílica del Santo Sepulcro. Lo envolvieron en lienzos de lino y lo colocaron en la tumba con una gran piedra en la entrada. Por esto, la tradición católica lo tiene como patrono de embalsamadores y sepultureros.

José de Arimatea es protagonista de la apócrifa Declaración de José de Arimatea, escrita en primera persona, en la que se reivindica como responsable del descendimiento y entierro de Cristo y narra el cautiverio al que el Sanedrín la condena por ello. Estas represalias son también referidas en el Evangelio de Nicodemo.

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A Letter from EXPO CHICAGO President | Director Tony Karman

Dear Adolfo,

On behalf of all of us at EXPO CHICAGO, I offer our heartfelt sympathy and compassion for everyone touched by this pandemic, as well as our deepest gratitude to those on the front line of care. Even in these most challenging times, I hold on to a profound sense of optimism, despite the new reality we all are sharing and its impact on our lives and livelihoods, I also maintain the sincere belief that together we will overcome the many challenges we are facing and do so in new and innovative ways.

As we prepare for the upcoming ninth edition of EXPO CHICAGO slated for September 24–27, 2020, safety for all who will be participating remains our utmost priority. We are moving forward as scheduled and continually monitoring recommendations from health professionals and government agencies. However, if after several months it is determined that large events still should not take place, we will set new dates. As we navigate in these uncertain times, we are extremely grateful for the leadership and sound advice of our Selection Committee, who we will continue to draw upon for guidance, as well as thoughtful council provided by countless professionals and civic leaders in Chicago and across the globe.

Now and in the future, I want to restate our pledge to remain at all times an attentive, nimble, and resilient collaborator and to utilize the many communications and marketing channels to amplify and support the local and international gallery community and the work of our many partners. Most importantly, we ask that you let us know how we can be more helpful to you. We are committed to being an active force in the recovery of the art world for a broad group of constituents—both commercial and institutional—as we prepare to be one of the first leading international art fairs in the Americas to be held following the current restrictions. 

To that end, I feel it is important to offer my perspectives and to share our plans with each of our core constituents who have helped shape our success and who we hope to continue to serve.

Commitment to Our Exhibitors – Partners:

We are all aware of just how much of the commercial sector of the artworld is built upon galleries who are taking the risks represented by their investments in their spaces, programs, exhibitions, and their staffs, while also covering the expenses of shipping, insurance, storage, and art fairs in service to their artists and patrons. EXPO CHICAGO has always followed an exhibitor-first approach in everything we do, recognizing that we would not be here if it was not for their confidence in collaborating with us. EXPO CHICAGO always strives to adjust to the needs of the community and reinforces that commitment in the truest sense of the word – partnership. 

Recognizing the many pressing challenges our gallery partners are facing, for the upcoming 2020 edition we are reducing the impact of our invoicing, adjusting payment schedules, providing incentives to reduce booth fees and committing to work individually with our exhibitors to accommodate to their needs. The current state of affairs demands this action and we look forward to working closely with dealers throughout the world over the next few weeks and months as we further shape our ninth edition.

Additionally, in support of the community of dealers, we will also be making contributions to both the Art Dealers Association of America (ADAA) and the New Art Dealers Association (NADA) from the proceeds of this year’s exposition to help advance the important work these organizations are doing on behalf of their member galleries.

Commitment to Our Visitors & Patrons

From our inception, our tagline has been “September in Chicago. Be here.” With deep respect to you, the industry, and in the spirit of collaboration and renewal, we recommit to this pledge as we prepare to present what we hope will be impactful convening event in the heart of America this Fall. We do so with the health and safety our visitors, patrons and participating galleries, foremost in our minds and in our preparations. We will keep you informed on our efforts to incorporate best practices into the exposition and rest assure that we will establish protections that I believe strongly will be the new normal for the future of events. 

Our Company & Mission:

EXPO CHICAGO is a privately-owned company that I lead, and which was formed with the support a small group of investors, primarily drawn from Chicago’s civic leadership who believe in the cultural, social, and economic benefits of Chicago hosting a major international art exposition. The first edition of the exposition was launched in 2012. We do not have the advantages of being part of a publicly traded convention and trade show company, and because of that, we share the sensibilities and sensitivities of being a small business — like most of the galleries with whom we partner. We are keenly aware of what EXPO CHICAGO shares with art dealers, which is a unique understanding of inherent risk and hard work that produces reward. 

From the outset, we built our company with an unwavering commitment of service to our exhibitors while presenting an international art fair that respects and supports the investment that each dealer has made. We set out to produce an exposition that would reestablish a vital marketplace in the center of the US and to renew the grand tradition of Chicago hosting a leading international art exposition each year that serves the region, the United States, and the global arts community. We have, and fervently maintain, our commitment to the highest level of production — focusing on quality, not quantity of exhibitors, to innovate and present critically acclaimed programming such as our Curatorial Initiatives and other platforms, advance a new online platform for our printed journal THE SEEN, and invest in advertising and outreach to ensure our exhibitors’ success. 

Chicago’s Collaborative Community: 

Our success is due in large part to the unwavering support of Chicago’s cultural, business, and hospitality community – including our civic leaders, museums, institutions, universities, galleries, artists, and arts professionals. Ingrained in our great city is a profound ethos of collaboration, and it is this strong community of cooperation that remains a most powerful foundation for us to both rely and build upon. Chicago is filled with renowned museums and arts organizations, respected arts professionals and curators, world class teaching institutions, a vibrant network of working artists, an abundance of great hotels, a celebrated restaurant scene and night-life, diverse neighborhoods and small businesses, great architecture, the lakefront and so much more. All involved stands together ready to welcome the world with us. We benefit greatly from our beloved landmark venue – Navy Pier – and we plan to capitalize on Chicago’s strategic position in the center of America to draw patrons from both the coasts, the Greater Midwest region, and beyond. 

With eyes wide open, we recognize that there are many challenges ahead in these rapidly changing times. On behalf of the entire team at EXPO CHICAGO, thank you for your continued support and confidence, and we genuinely hope to hear from you to answer any questions and listen to any suggestions that you may have. 

In closing, I reaffirm my sincerest hope for the health and safety of our families and friends, while yearning for the time that we will once again be able to experience the work of artists in person. With humility, I offer our global arts community heartfelt wishes for the fortitude to prevail, the clarity and wisdom to innovate and build on existing partnerships and, although it may sound lofty, the collective determination of us all to utilize the many avenues we have at our disposal for the greater good of our artists, our local communities, and most importantly the wellbeing of our world. 

With respect and gratitude,

Tony Karman
President | Director
EXPO CHICAGO
For a listing of local and national resources available to galleries, artists, curators, and cultural workers, visit our website.

EXPO CHICAGO Adjusts Payment Schedules for Exhibitors in Lead-Up to September Fair
Written by Sarah Douglas

Los Poetas Laureados :

Cardoza y Aragónhace mención de la visita de Alfonso Reyes a Montparnasse, después de la liberación de Paris (1945) .  Narra como Alfonso llego al barrio, en busca de viejos amigos y se rencontrócon Kiki de Montparnasse:  Dice Cardoza ; Y los dos se engañaron argumentando que seguían viéndose igual después de tantos años.

En 1945 Alfonso Reyes obtuvo el premio nacional de Ciencias y Artes en literatura, Premio que también que en 1971 se extiende a Federico Cantú y mismo que rechaza .

En 1958 recibe el doctorado honoris causa por la Universidad de la Sorbona y el de Berkeley California, Las minifaldas que ve en un establecimiento de comida rápida en California le encantan: "Aquílas chicas sirven comida usando patines y con los muslos al aire, como en la Creta minoica", escribe en su diario. 

En 1950 Federico Cantuinicia una serie de obras murales en torno a los dos ideales que compartía con Alfonso Reyes. Uno seria el culto a la mitología nacional, recreando hazañas murales con obras como , Las Enseñanzas de Quetzalcóatl. Caída de Tenochtitlan , Tira de la Peregrinación Azteca, y con la misma maestría creo la guardesa de la mitología griega con obra como Caída de Troya, Ceres , Metamorfosis de Daphne , Ceres Xilonen Chicomecóatl.

A la muerte de Alfonso Reyes en 1959 . Cantu decide crear un proyecto en torno a la memoria de Reyes y para ello inicia una serie de bocetos con el tema del Poeta Laureado , 

Y sin mas recuerda el pasaje de Apolo y Daphne :Hay varias versiones del mito en el que aparece, pero la narración general que aparece en la mitología grecorromana, es que debido a una maldición hecha por el dios Cupido, hijo de Venus, sobre el dios Apolo (Febo), se convirtió en la objeto involuntario de la obsesión de Apolo, que la persiguió en contra de sus deseos. Justo antes de ser besado por él, Daphne le pidió ayuda a su padre, el dios del río, quien la transformó en un árbol de laurel, frustrando así a Apolo.

A partir de entonces, Apolo desarrolló una reverencia especial por el laurel. En los Juegos de Pythian que se celebraron cada cuatro años en Delphi en honor a Apolo, se otorgó una corona de laurel del Valle de Tempe en Tesalia como premio. Por lo tanto, más tarde se convirtió en costumbre otorgar premios en forma de coronas de laurel a los victoriosos generales, atletas, poetas y músicos, que se usaban como una corona en la cabeza. El poeta laureado es un ejemplo moderno bien conocido de tal ganador de premios, que data del Renacimiento temprano en Italia.

Ya en el tema grecolatino Federico decide incorporar junto con el tondo de poeta laureado la idea de Palas Atenea , misma que quedara plasmada en la escultura monumental de la capilla Alfonsina acompañada del tondo donde Alfonso aparece como Poeta Laureado  

y que concluirámuchos años después con la obra escultórica Palas Atenea,

Que flaquea hoy la capilla Alfonsina en la UANL.

 Si bien Alfonso Reyes pudo degustar la ultima etapa de la obra de caballete y mural de Federico Cantu .

Sin duda Capto todo lo que venia por hacer en décadas futuras adivinado obras como

Quetzalcóatl y los Tlacuilos , Tláloc devora a Xilonen , Toltecas y escribas , la peregrinación en el Códice Ramírez  Las Enseñanzas del Cura hidalgo , Madona IMSS, todo este gran acerbo mural de IMSS seguido por la obra monumental de los misioneros de Guadalupe con su viacrucis y crucifixión asícomo el relieve monumental con el tema de Seres- Xilonen en los Altares Nuevo león , y por supuesto la monumentalidad de la UANL , con Nezahualcóyotl y el agua , Palas Atenea , Xochipilli, Los Informantes de Sahagún , Sócrates , Fedon , Diótima  de Mantinea, Minerva.

Recordando todo este legado de Federico Cantu con un pensamiento de Alfonso Reyes.

La obra de Federico aviva el afán prehispánico, la flora, la fauna, el paisaje y la simbología mitológica  religiosa. Pero sobre todo recrea el universo cultural que cultivo a lo largo de su vida.

Federico Cantu en  murió1989, treinta años después que Alfonso Reyes , sin embargo el pensamiento , espíritu y obra,  lo podemos estudiar, recordar y admirar dentro del legado de la UANL.

Al final los dos maestros después de su gran travesía regresaron a su patria , regresaron a Nuevo León. Asícomo Ulises a Ítaca.

Adolfo Cantu

Colección de Arte Cantú Y de Teresa

Art Consultant & Specialist

Fideicomiso Casa Estudio Federico & Elsa©

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Federico Cantú

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Doro Carpeta Dorian

Como elementos dispersos dentro de la vida y obra de Federico Cantú, vamos  descubriendo una ruta muy interesante, donde diferentes personajes van enriqueciendo su ya rica biografía  , el turno es ahora para el Poeta  Edward Doro, que  de alguna manera coincidiera en California con Federico y que posteriomente se rencontrarían en  Paris y Nueva York .

Gracias a la sorpresiva aparición de la “Carpeta Dorian” en la casa de subastas  Chez - Rouillac, en Paris y consecuentemente la digitalización de la obra , podemos saber que Doro, es el autor de uno de los primeros textos iconográfico de la obra de Federico ,  dicho texto se refiere a la obra “Madona” que pintara Federico en la navidad de 1928 en California .

Para fortuna de muchos visitantes, tenemos temporalmente la obra Madona, expuesta en el Museo MUNE en Monterrey , donde la pueden admirar!

Adolfo Cantú

CYDT Collection 

Otros dos datos que son interesantes respecto a Doro , es su buen gusto por la obra grafica!  Ejemplo de ello es el libro publicado en NY The Boar & Shibboleth 

By Edward Doro – Wood engravings by Paul Landacre  y que sin duda nos trasportan a la obra de Utamaro 1753- 1806, no cave duda que el arte lleva una ruta universal .

Concert

recording concert

https://zsonamaco/2020

A poet laureate (plural: poets laureate) is a poet officially appointed by a government or conferring institution, typically expected to compose poems for special events and occasions. Albertino Mussato of Padua and Francesco Petrarca (Petrarch) of Arezzo, both now part of Italy, were the first to be crowned poets laureate after the classical age, respectively in 1315 and 1342.
In Britain, the term dates from the appointment of Bernard André by Henry VII of England. The royal office of Poet Laureate in England dates from the appointment of John Dryden in 1668.
In ancient Greece, the laurel was used to form a crown or wreath of honour for poets and heroes. The custom derives from the ancient myth of Daphne and Apollo (Daphne signifying "laurel" in Greek), and was revived in Padua for Albertino Mussato, followed by Petrarch's own crowning ceremony in the audience hall of the medieval senatorial palazzo on the Campidoglio on April 8, 1341. Because the Renaissance figures who were attempting to revive the Classical tradition lacked detailed knowledge of the Roman precedent they were attempting to emulate, these ceremonies took on the character of doctoral candidatures.

Since the office of poet laureate has become widely adopted, the term "laureate" has come to signify recognition for preeminence or superlative achievement (cf. Nobel laureate). A royal degree in rhetoric, poet laureate was awarded at European universities in the Middle Ages. The term therefore may refer to the holder of such a degree, which recognized skill in rhetoric, grammar and language.

In modern times a Laureate title may be conferred by an organization such as the Poetry Foundation, which designates a Young People's Poet Laureate, unconnected with the United States Poet Laureate.
The office is also popular with regional and community groups. Examples include the Pikes Peak Poet Laureate,which is designated by a "Presenting Partners" group from within the community, the Minnesota Poet Laureate chosen by the League of Minnesota Poets (est. 1934), the Northampton Poet Laureate chosen by the Northampton Arts Council, and the Martha's Vineyard Poet Laureatechosen by ten judges representing the Martha's Vineyard Poetry Society.
Over a dozen national governments continue the poet laureate tradition.

Miguel Ángel Osorio Benítez (July 29, 1883 – January 14, 1942), better known by his pseudonym, Porfirio Barba-Jacob, was a Colombian poet and writer.

Born in Santa Rosa de Osos, Antioquia, to parents Antonio María Osorio and Pastora Benítez, he was raised by his grandparents in Angostura. In 1895 he started his travels, first through Colombia, and from 1907 to Central America and the United States, before finally settling down in 1930 in Mexico City.
Around 1902 in Bogotá, he founded the literary magazine "El cancionero antioqueño" (The Antioquian songbook), which he managed under the pseudonym Marín Jiménez. Short after, he wrote the novel "Virginia", which was never published because the original manuscript was confiscated by the mayor of Santa Rosa for alleged immorality.
In 1906 he moved to Barranquilla where he adopted the pseudonym Ricardo Arenales. He continued to use this pseudonym until 1922 when in Guatemala he adopted a new pseudonym which he would use for the rest of his life: Porfirio Barba-Jacob. Around 1907, still in Barranquilla, he wrote his first poems, such as "Árbol viejo", "Campiña florida", and his most famous work, "Canción de la vida profunda" (Song of the deep life).
During his journey through Central America, Mexico and the US, he contributed to many magazines and journals. He befriended Porfirio Díaz, which led to his fleeing to Guatemala, then to Cuba, for disagreeing with Manuel Estrada.
In 1918 he returned to Mexico, where it is said that he wrote a biography of Pancho Villa. In 1922 he was expelled by Álvaro Obregón and fled again to Guatemala, from where he was again expelled in 1924 by Jorge Ubico. Barba-Jacob then went to El Salvador, and after being deported by Alfonso Quiñones, travelled to Honduras, New Orleans and Cuba. In 1927 he returned to Colombia and, after some recitals and contributions to the Colombian journal El Espectador, he left Colombia on what would be his last trip.

He died in 1942 of tuberculosis in Mexico City. Four years after his death, on 11 January 1946, his ashes were claimed by the Colombian government and were returned to the Rotonda de los Hombres Ilustres.

Adolfo Cantú

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