When I heard that the next special exhibition at the Blanton Museum would focus the on the artist Francisco Matto, I didn't think a great deal about it, honestly. I had never heard of the artist and had never studied the School of the South. I could sense that he was a big deal, so I Googled him. Try Googling him and see what you get (aside from the Blanton's information.) Needless to say, I didn't learn much about him. Search for the El Taller Torres-García, and you'llget a little more. But the question of who was Matto and why was he coming to the Blanton still remained...
This is the first retrospective exhibit on Francisco Matto in the U.S., correct? Why do you think his art is drawing the attention of the public now and why is it important for the Blanton to do an exhibition like this?
In the long history of exhibitions organized by the Blanton focusing on
Latin American Art, two have contributed greatly to the field of Modern arthistory: “The School of the South” and “The Geometry of Hope: Latin American
Abstract Art from the Patricia Phelps de Cineros Collection.”
“Francisco Matto: The Modern and the Mythic” is the continuation of our
efforts to study this period through exhibitions. Additionally, Matto was
one of the most important students of Joaquin Torres Garcia, a key figure in
the history of Modern art. But Matto’s work has never been presented in the
US in a comprehensive way. We will be the first museum to organize an
exhibition that features the entire work of Matto from the 1940s to the
1990s.
What do you hope a museum visitor might be exposed to for the first time?
This exhibition is one that will invite the visitor to experience abstract art in a very intimate and personal way. Matto’s life is important,
but more important is how we—individually—connect with each of the works on
view. Some viewers might feel closer to the still-lifes, while others might be
drawn to the abstract compositions. All the works offer a different yet
similar face of Matto’s world and his vision as an artist—to see
art within the urban landscape in hopes to improve and enrich the everyday life of all citizens.
What ideas would you explain further that you think one might overlook in the exhibit?
This last sentence I reference above—Matto’s wish to see art through out his
native city, Montevideo—is one that might be overlooked. But a closer look reveals there
are several paintings and drawings in which Matto depicted an abstract sculpturein the middle of a port scene or in the urban landscape. Also, several
photos located in the resource room [within the exhibition] illustrate Matto’s ambition to see his totems live in the open and close to the urban center of Montevideo, where
many could appreciate them.
Matto's work has had a lasting impact on Latin American artists. What ideas would you like museum visitors to take with them when leaving the Matto exhibit and going upstairs to the America/Americas?
I would actually put Matto in the context of Modern art and not just Latin
American art. His importance and contributions are part of the history of
modernism — this is what associates Francisco Matto and
America/Americas [currently on view, drawn from the Blanton’s permanent collection]. The most important ideas to take from this exhibition are the influence of Joaquin Torres Garcia, one of the most important artists in the history of modernism, and Matto’s incorporation of pre-Columbian art in modern and contemporary art. These two aspects are
present in our permanent collection.
Would you compare any specific permanent works on display now to Matto?
America/Americas opens with a work by Joaquin Torres Garcia among a cluster devoted to The School of the South (a group founded by Torres Garcia). Additionally, next to the Matto exhibition, the visitor will also by members of The School of the South, or artists influenced by this group.
What works of Matto's do you enjoy the most and why?
I cannot say I have one piece, but I have two favorite groups of works:
Matto’s still lifes and his wooden totems. I like the still lifes for their simplicity, and the astonishing way Matto was able to abstract the purity of
forms and represent ordinary things such as a jar. I like the totems because
of their universal appeal, by this I mean that Matto chose to work with very
specific figures that are embedded in many cultures and thus when the viewer
sees the totems they will feel a certain familiarity.
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After seeing the exhibition, perhaps “Who was Matto?” is not the right answer. Perhaps I should have asked, what does Matto stand for? The works speak for themselves and say something eternally simple and beautiful.
I would like thank Ursula for taking the time out of her busy schedule toanswer these questions (who said curators were out of reach?) I hope you
all will see Matto if you haven't already, or go again with renewed
interest.
If you would like to hear more about Matto, join Ursula for a special gallery talk entitled,
"Perspectives: Francisco Matto," September 17th at 12:30pm.
Hope to see you at the Blanton!
