Exhibitionism

Mexic-Arte Museum,
through August 28

Upon first glance, Mario Rendon Lozano's sculptures at the Mexic-Arte Museum look like pieces from a touring exhibition of newly discovered Aztec temple ruins. Deliberately arranged about the center of the gallery space, the large three-dimensional concrete figures and stone shapes sit like the severed fragments of an enormous public structure. This sense of disconnection is powerful: The already large images of open-mouthed Aztec faces with their stylized, flattened eyes and pre-Columbian symbols carved into self-contained square blocks take on a greater stature as we imagine them amidst the friezes and facades of an ancient Mezo-American city.

In a sense, Lozano's work derives its meaning precisely from this decontextualization, and the looming absence and space it creates. What, then, is the context? In a statement accompanying the exhibit, Lozano writes that "[my] work is based on the concept of the spiritual and cultural fortitude of the Mexican people, who have not succumbed to adversity in spite of having their customs, convictions, and beliefs violently altered." Lozano's work is an art of the people, in the truest sense of the words. At the same time, in transforming his spiritual humanism into actual physical pieces he has developed a unique formal vocabulary which brings together the contemporary and the traditional in varying and ever-changing degrees: "Mexico, Vitality, and Roots" includes terra cotta works, bronze sculptures, and ink, pastel, and sanguine drawings. And for the larger pieces he has created his own sculptural method called "rendoncreto," which involves introducing extra materials to concrete while it is mixing, giving it a harder yet more pliable surface. And Lozano is inspired as much by recent cultural iconography as ancient ones: Many of his pen-and-ink drawings play with the image of Zapatista, but surround the figure with imposing lines and dripping colors simultaneously expressing isolation and solidarity, and undercutting an inflated romantic heroism. Lozano sees dignity in the lives of contemporary Mexicans all over the world and nobility in their connection to the past.

In the smaller rear gallery, Mexic-Arte is also presenting "Yo Soy Latina," which features paintings by Anica Bazan and Bobbi Graves.-- Ben Willcott

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RENACIDO ("REBORN"): NOW THAT'S DANCING!

One World Theatre,
through September 12

Dance is athleticism with artistic expression. Remember the Nicholas Brothers' relentless rebounds of flying splits? Mikhail Baryshnikov's gravity-defying leaps? But no need for more reminiscing because José Greco II illustrates the Herculean skill it takes to execute flamenco movements with passionate style and grace in Renacido ("Reborn"), presented at the exquisite, new One World Theatre. Greco's technical mastery is displayed in his solo "Homenaje Al Viejo" (from his blood to mine; "I thank God"). Greco's crowning glory reigns in executing numerous whipping turns which quickly dissolve into a stoic diagonal lunge, the lunge inverts backward to a midair suspension which is then punctuated with a proud flamenco stance. Now that's dancing!

And that dancing was among all the other steps in Renacido which made the audience members gasp, scream, stand, clap, and shout "José!" with captivated approval. They were not only enraptured by Greco, but also by his Compania de Baile Flamenco of six dancers -- Carlos Carabana, Lucia Duenas, Cristina Godines, Carmen Iglesias, Maria Juncal, and Felix Soria -- and the guitarists Pedro Cortes and Roberto Castellon, and singers Joaquin Escudero and Esau Quiros. Renacido opened with the singers and guitarists transforming the theatre into a haunting Andalusian dream in which one could envision the passionate "cry of the gypsies" in their gripping flamenco rhythms. Of the nine dances performed, four of them, including Greco's second solo, "Homenaje Al Viejo," upped the ante on one another. Beginning with "Ben Amor" (passion and beauty, "a Spanish fairy tale"), danced by Lucia Duenas and Felix Soria and choreographed by Greco, this duet portrayed the language of love. Duenas and Soria challenged each other by moving away from one another and then approaching again. Him pursuing her, then her him. Every gesture and position embodied passion, which inflamed them both. Greco's first solo, "Sierra del Tajo" (reflections of an old-time bandido from the Andalusian Sierra), was an incredible execution of smooth, silky syncopation. Performing intricate phrases of tacaneo (heel work) along with the added complexity of a cane, Greco demonstrated why he is billed as "the outstanding flamenco dancer of our time." Maria Jumal's "De Fuego y Ternura" (fire from within) was a pyrotechnic display of virtuosic footwork and passion. Expressing her fiery spirit through unyielding feats incited the musicians and her to even greater heights of improvisation and emotion which swept viewers away.

The evening ended with "Bandera Bandera" (from deep within our hearts to our public) performed by the entire company. No wonder this dance culminated in four standing ovations. The heart-stopping appeal of the performers gave the audience permission to enter into an equally passionate appreciative exchange. It was the dancers' spontaneity, skill, and genuine presence that filled the theatre with excitement.

Treat yourself to this engaging, captivating performance, which is greatly enhanced by being held at the beautiful Tuscany-style villa One World Theatre. (Each ticket purchased supports One World's Touring One World arts-in-education program, which serves 45,000 schoolchildren annually.) --Barbejoy A. Ponzio