![]() For more information on visiting the Serpentine Galleries with your family. We welcome families and to help you enjoy your experience we are committed to ensuring we meet these Standards. A line drawing of the Internet Archive headquarters building faade. The Serpentine Galleries have signed up to the Family Arts Standards. Working together and using performance, participants contributed to the formation of a live archive. Over the course of a year, Offeh invited artists to develop a series of workshops that brought together children and adults to explore media, technology, identity, architecture and public space. Offeh was the 2018-19 Serpentine Family Programme Artist in Residence and proposed to work with families to create Familial: Our Live Archive. This workshop was programmed in parallel with the 2018 Serpentine Pavilion designed by Frida Escobedo. Using a range of reflective materials, families created body adornments echoing the mirrored surfaces and pool in Escobedo’s Pavilion, and posed, played and performed in and around the structure. That eyes-right corker I’d adored since childhood, leering at the Chinese tomb guardians staring through the sun / In the next gallery back at him: the label notes / He has been “widely exhibited here and abroad” yet now / They know: not some recarving merely of the face / Or prosthetic limb to double for one broken off / One high noon of bloodlust revelry in elder Mexico / But the entire sculpture, made for market, skull to toe: An old con man craning his head over his shoulder.Artists Harold Offeh and Veronica Cordova de la Rosa invited children and their families to create costumes inspired by Chac Mool, a reclining sculpture found on the top of Mexican temples and pyramids.ĭrawing on the history of Mayan and Aztec sculpture and Cordova de la Rosa and Offeh’s performance practices, families transformed into a version of Chac Mool, a figure associated with water, rain and lightning. Can it be? The Minneapolis Chacmool, unveiled, is fake. Shortly after his unmasking, a respected poet who had grown up in Minneapolis wrote about the incident in his poem called Father and the Minneapolis Chacmool. For that matter, so does Chac Mool-as a cautionary tale, a bemusing story, his medium literally listed as “Fakes and Forgeries.” A chacmool (also spelled chac-mool) is a form of pre-Columbian Mesoamerican sculpture depicting a reclining figure with its head facing 90 degrees from the. In ancient Mesoamerica throughout the cultural diversity of this territory, the Chac Mool was an icon, an essential presence of any ceremonial center, and in this vast and astonishing artistic expression of these regions, we can say that in the field of. Her earrings, by all accounts, are also real and remain in Mia’s collection. The Chac Mool Ether symbolically represents a door to another dimension, an invitation to pass to the subtle and ethereal side of our being. She was a board member of the Friends of the Institute and the Junior League, which sponsored the children’s cruise. She was in fact briefly a stewardess for Northwest Airlines during World War II, and her affection for exotic places was genuine. She lived in Honolulu and, after 1964, in La Quinta, California, near Palm Springs. She married three times-Overstreet was the middle man-and died, just last year, as Kitty Laird. Born Katherine Mordaunt in 1919, she went by Kitty. Overstreet was real enough, though her identity changed several times as well. Overstreet…a real airline hostess,” as the caption described her-was promoting the museum’s upcoming “cruise” for Minneapolis schoolchildren, in which she would pose as their airline stewardess-guide. When this photo was taken by a Minneapolis Tribune photographer in December 1949, and run in the newspaper on January 8, 1950, Chac Mool was still very much in good standing-or reclining. “When I first saw this sculpture in storage many years ago, it seemed almost laughably bad,” she said at the time, “and now it’s hard to believe so many were taken in by it for so long.” ![]() Molly Huber, the assistant curator of the renamed Department of African, Oceanic, and Native American Art, included the sculpture in a 2010 exhibition called “In Pursuit of a Masterpiece,” as an instructive counter-example. No one else on staff, over several decades, had reason to be suspicious. The spoiler was the museum’s first curator of what was then called the primitive art department. ![]() Only in the 1970s was his true nature revealed: He was a fake, and not even a good one. ![]() Chac Mool now reclines in museum storage. ![]()
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