Showing posts with label Flashback Friday. Show all posts
Showing posts with label Flashback Friday. Show all posts

13 July 2018

IT'S FRIDA FRIDAY

FLASHBACK FRIDAY

BY: CASARINA HOCEVAR

This week’s #FlashbackFriday is turning into #FridaFriday, to honour one of my favourite historical ladies, Frida Kahlo. Given last Friday, July 6th was Kahlo’s birthday, and today marks the 64th anniversary of her death, the timing coincides well for #FridaFriday. Frida's image is continually replicated in art and pop culture. The colourful outfits, elaborately braided hair, and unibrow matched together on t-shirts, earrings, in street art, as costumes and as fashion-inspiration, are familiar tributes to her recognizable imagery. However, despite her repetitive cultural image, the details of her life and the narratives weaved into her art are often overlooked. This #FlashbackFriday hopes to illustrate a bit more about this revolutionary lady.



Born in Coyoacán (Mexico City) on July 6th, 1907 as Magdalena Carmen Frida Kahlo Calderón, Frida grew up with her father, Guillermo (Wilhelm), her mother, Matilde, and her three sisters, Matilde, Adriana, and Cristina. Frida also had two elder, half-sisters from her father’s first marriage. Due to financial difficulties and ongoing health issues, Frida’s early life was turbulent. Throughout those years, both her parents had health problems that disrupted the steadiness of their life. At the age of six, Frida was diagnosed with polio, the result of which would be the imbalance in her legs, delayed education, and bullying by peers.

Yet, despite these trails, Frida was an active, curious and energetic girl, and at times, rebellious. As part of her polio recovery, she became physically active, despite the unusualness for girls to be playing sports. She enjoyed aiding her father with his photography, and was known to carry a tense relationship with her devout mother as she skipped out on her catechism. She excelled at school, and intended to study medicine. Throughout her teens, she became politically conscious and active. Meanwhile, she also engaged herself in drawing, poetry, and worked for a family friend, as an engraver’s apprentice.

In September of 1925, Frida and her long-time boyfriend, Alejandro Gómez Arias, were in a severe bus accident, resulting in Frida being bedridden for several months. The injuries would prove to have life-altering consequences, as three of her spinal discs were dislocated, and numerous bones had been fractured. The pain, and the time and money spent in recovery, would limit her educational pursuits and further distressed the struggle of the Kahlo Calderón family. Even with her recovery, the impact of her injuries would linger onward throughout her life.

While Frida was still recovering, she quickly resumed working, concerned for her family. It would be in this new period, her relationship with Diego Rivera would blossom (they had previously met on brief occasions in her teens). A seemingly unlikely couple, Rivera reportedly admired and respected Kahlo’s opinion; Kahlo was intently interested in Rivera’s work and politics. They married in 1929, divorced in 1939 and remarried again a year later. Their relationship was rocky and emotionally intense, as Rivera’s infamous womanizing continued, Kahlo suffered from multiple miscarriages and the couple moved throughout the United States.


Kahlo also engaged in her own extramarital affairs (including purported affairs with Georgia O’Keefe and later, Leon Trotsky), throughout both marriages, and continued to remain politically active in spite of her health problems. Regardless of her turbulent life, Frida seemed inexhaustible in her work, politics and personal life, which were often entangled.





Frida was an active member of the Communist Party, and her politics, like her relationships, were illustrated throughout her paintings. Notably, her and Rivera, hosted Leon Trotsky and his wife, Natalia, while they sought asylum. Her political consciousness continued up until her death, where she participated in a political march only a couple weeks before her death, despite her poor health.

The latter years of her life were marked with increasingly persistent health complications, which contributed to bouts of depression and anxiety. In 1953, her right leg was amputated due to infection, commencing a downward period in her mental well-being before her death on July 13th of 1954.




Frida’s legacy is vibrant with her dedication to Mexico, her experimentation in personal style, both in fashion and in art, her prolific letter writing, her integration of ex-votos, portraiture and still life, political activism and of course, her passionate love.

Frida's life has been written about extensively. Her home in Mexico City, known as the Blue House was made into a museum and is still open today for guests to visit.

15 June 2018

MEMORY X MURALS

FLASHBACK FRIDAY

BY: CASARINA HOCEVAR

This summer I have been working with the Scarborough-based non-profit, Mural Routes, in documenting mural projects around the Greater Toronto Area into one comprehensive archive. Due to their rather temporal state - and the fact I haven’t lived in Toronto since its earliest commercial murals of the late 19th Century - creating a comprehensive archive of all the city’s murals has been a bit of tricky task. But it has also prompted some interesting reflections on how murals echo both private and public memories. This week’s Flashback Friday will unravel how local history is embedded in our city’s public artwork.

"Bomb Girls" by OMEN in collaboration with StreetARToronto and Mural Routes, near Warden x St. Clair East in Scarborough. 2014. Photo courtesy of Mural Routes. 

In many murals, especially those commissioned by the city or in partnerships with local BIA (Business Improvement Area), the themes and content of murals explicitly relay “heritage moments” or local legacies. A clear example of this can be found from the 1990s, when Mural Routes commenced their first series of murals along Kingston Road in Scarborough known as the Heritage Trail. Another example would be the several murals done by John Kuna for the Village of Islington BIA in Etobicoke from 2005 to 2014. These murals feature a range of characters and activities from Islington’s past, from families tobogganing to The Guelph Radial Line to local church communities. Such murals serve as tributes to the past, becoming a visual representation of collective community memories.

However, many of Toronto’s murals were not meant to be historical in nature, yet, their memory in the minds of local residents exist as landmarks of the city’s past. This is particularly evident amongst some of Toronto’s commercial murals. Until a few years ago, when the Church Street Mural Project added several new murals to the Church and Wellesley community, a large Molson Canadian advertisement was featured on Church Street as a mural known colloquially as The Gay Cowboys. Despite its obvious commercial purposes, the mural was recognized as a landmark in a generation of Toronto’s gay community. Recently, when Mural Routes’ held their archive exhibit at 389 Yonge St., several residents of the Church-Wellesley area shared their memories of the Gay Cowboys, revealing that in spite of its loss, the mural lingers in memory as part of the neighbourhood’s historical character.

Alternatively, many contemporary murals which aim to capture the diversity of Toronto’s communities (and perhaps, also tackle the lack of representation in Toronto’s public art) remind us of the multitude of intersecting communities that contribute to its vibrancy. For example, In July 2017, Parkdale held the event Women Paint, organized by Bareket Kezwer and StreetARToronto, where muralists came together to paint their unique and contrasting narratives of being womxn.




Concurrently, other muralists, such as Philip Cote have been injecting the mural scene with art representing Indigenous history and culture. Last summer, Cote finished a mural near Old Mill Subway Station which illustrates Indigenous knowledge, that has been preserved through oral histories. Such projects are laced with narratives of the Toronto region, both contemporary and historical, which indeed beautifully draw attention to a multifaceted, complex urban identity that is often lost in the haze of gray buildings and in our hustling commutes.





Then, within the production and life of a mural, lies another source of memory. Some murals have become iconic features to Toronto, recognizable to city dwellers across demographics. The Rainbow Tunnel in the Don Valley Parkway (DVP) is an excellent example of this. Visible from the highway, a pedestrian tunnel is vibrantly painted as a rainbow - ensuring pass-byers of its visibility regardless of the time of year. First painted in the 1970s by Bc Johnson, community members came together to restore the mural in 2012-2013, thus, sharing in a collective effort to preserve its mural memory. This Saturday, June 16th, Mural Routes will be completing touch-ups on Rainbow Tunnel as maintenance.





Rainbow Tunnel undergoing its restoration in 2012-2013. Photos courtesy of Mural Routes' Archive.

While the intentions and longevity of murals differ greatly, they share a common connection to community memory. Murals engage audiences with their surroundings, provoke new ideas to recollect, and stir our consciousness of another time.

18 May 2018

THE EVER ENDURING CASE OF TULIPMANIA

FLASHBACK FRIDAY

BY: CASARINA HOCEVAR

Abbotsford Tulip Festival, April 2018. Photo courtesy of Casarina Hocevar. 
This week marks the beginning of Ottawa’s famous annual Tulip Festival. So in celebration of Spring, our Flashback Friday will delve into the history and heritage of the tulip festival.

A little history…

In 1953, Ottawa hosted its first tulip festival at the suggestion of photographer Malak Karsh (brother of Yousuf Karsh). The choice of flower was symbolic: 100,000 tulip bulbs were given to Ottawa by the Netherlands at the end of WWII, as a gesture of thanks, friendship, and peace.

Throughout the Second World War, Ottawa hosted the Dutch royal family while the Netherlands faced invasion and occupation. Princess Juliana, who was the only child (and heir) to Queen Wilhelmina, gave birth to her daughter in the Ottawa Civic Hospital, in January 1943. Part of the hospital was given temporary “extraterritorial” status in the city, thus, allowing the newborn Princess Margriet Francisca to receive Dutch citizenship. The family remained in Ottawa for four years, until the Netherlands was liberated from Nazi forces in 1945.

Shortly after, Princess Juliana arranged the 100,000 bulbs to be given to the capital as a gift, with additional bulbs being sent each year after, known as “the Tulip Legacy.”

A little more history…

While Canadian-Dutch relations provide us a foundation for understanding the origins of Ottawa’s tulip festival, the contemporary craze for tulips isn’t particularly new.

Wood engraving by Conrad Gesner, 1561. Source.
In the 16th Century, tulips were introduced to the Dutch from the Ottoman Empire. Their vibrant colours and rarity sparked great interest. This interest soon became an obsessive fascination shared widely in Dutch society by the 1630s. The desire grew so intense that tulips became a form of currency, creating a unique economic bubble which drove the price of tulip bulbs to unreasonable ranges. Unsurprisingly, the “tulipmania” bubble broke near the end of the 1630s, resulting in a market crash.

As professor Anne Goldgar notes throughout her book, Tulipmania, the legacy of tulipmania has been written and researched about extensively in articles, novels, and plays, telling us of the enduring public fascination for tulipmania. Of course, the fascination in tulipmania’s legacy is not simply in the beauty of the flowers themselves, but in the way in which the flowers influenced a society so deeply.

From 17th Century Dutch markets to the 18th Century Ottoman court, tulips once again become an icon for luxury and consumption. During what was known as the Ottoman Empire’s Tulip Period - an era of economic growth and increased material consumption - tulips appeared in prints, textiles, paintings and throughout markets and gardens. And as with the Dutch tulipmania, tulips in the Ottoman empire also saw rocketing prices for bulbs and flower orders, until state regulation was enforced on the market. Once again, tulips proved to have a captivating essence...

16th Century Ottoman textile featuring tulip design. Source.

Contemporary tulipmania…

While today’s tulipmania has not caused any recent market crashes, it certainly seems to captivate the spaces and imaginations of social media users. Social media has certainly made it easier for flower festivals and their visitors to relish in the beauty a little longer. Below are some posts made by festivals organizers and visitors worldwide.

Tulip festivals across Canada:

Ottawa, ON: May 11th - 21st



Abbotsford, BC: April 9th - mid-May



Tulip festivals worldwide:

Keukenhof Holland, Netherlands: March 22nd - May 13th



Istanbul, Turkey: April 1st - 30th

A post shared by Evgeniya Yüksel (@jenny_xel) on


Holland, Michigan: May 5th - 13th

A post shared by Tulip Time Festival (@tulip_time) on


Srinagar, Kashmir, India: March 25th - April 15th

A post shared by Boy ate the world (@boy_ate_the_world) on


Tesselaar (Melbourne), Australia: October 8th - 14th

A post shared by #girlsthatwander (@girlsthatwander) on