Art, paintings, sculpture, prints, drawings, textiles and video show how artists have expressed their judgments of La Malinche over the past 500 years. See 'Traitor, Survivor, Icon' at Denver Art Museum now.
Was the 16th-century, indigenous enigma — who was famously bartered into slavery in her youth before rising up to be a mother figure for modern Mexico — a victim and, therefore, a righteous role model for generations of women?
But the exhibition, a rock-solid show in both its arguments and its artful evidence, leaves room for the doubters. It fairly airs the perspective of popular opinions, both past and recent, that Malinche was the devil in braids and aAlfredo Arreguín’s 1993 portrait of Malinche adorns her with symbols form both Indigenous and European faiths.
In that sense, it is a show within a show that offers dual pleasures, that of learning a condensed bit about North American history, along with that of appreciating works of art, everything from Aztec stone carvings of female figures from the 1400s that set the scene to performance videos created in the present, multimedia moment that underscore the conflict in various interpretations of Malinche.
There are pieces that glorify Malinche into something close to sainthood. Jorge González Camarena’s 1964 “The Couple” is a monumental painting that depicts Cortés and Malinche standing tall and brave as the mother and father of Mexico, sharing both power and companionship. The mixed-race fruits of their union forged the diversity that defines Mexico today.
The majority of people in Mexico today are mestizo, or mixed race, with DNA from both Indigenous and European people. They are neither purely the descendants of oppressed native people nor fully the oppressors themselves. They are something of both, and those conflicting aspects of self-identity play out in the alternating ways that history has identified Malinche.
But the curators are wise to let the art do the talking and to let the record fall where it may, and they do so in dramatic ways. The exhibit’s show-stopper is a dual presentation of two large and very similar oil paintings, never before exhibited together and borrowed from Mexican churches with great curatorial skill by the DAM team.
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