2017 Merida Artist Studio Tour

Over 30 years ago, the Merida English Library (MEL) was an artist studio. Painter and printmaker Mark Callaghan, painter Alonso Gutierrez, and photographer Victor Rendon (deceased) established a beautiful synchronisity between each other and the community that lives on through the vision of the Merida English Library.

Perfect day for an artist studio tour

Originally created as a lending library (12,961 books to date), MEL has grown to become a centre for community. Through ongoing programs geared to connecting English and non-English speaking visitors and members, students and intellectuals, art aficionados and artists, the Library is a story of generosity and dedication, sharing and partnership.

One of the Library’s most popular fundraising events is the Artist Studio Tour. For a single day each February, talented artists in Merida open up their studios, and ergo themselves, to curiosity, admiration and reflection. “The Artist Studio Tour is our flagship fundraiser, but it’s also an important way for us to give back to the community”, Board Vice-president Andrea Slusser told me. “The event shines a light on artists living and creating in Merida, and gives us all an opportunity to connect with people from around the world.”

Even Fitz needed a sit down after 17 studios!

This year we managed (Leanna, Fitz and I) to visit 23 of the 29 artists, a herculean feat given the depth and breadth of the work in each studio. Over 350 enthusiastic people joined us on what was a beautiful day in Merida, and judging from the smiles of artists and participants alike, I’d say it was an unforgettable experience.

“We leave that studio/gallery, inspired, and walk to several more. The sun is searing now and Larry and I enjoy a quick refreshing break in the upstairs lounge outside Cy Bor’s tiny studio while Pauline and Joanne discuss Cy’s work in progress–a blue patterned plate stacked with lemons, glistening with flavour. Cy’s pastels are displayed throughout the house, bringing with them a freshness you can taste. I am in awe of her ability.”
– excerpt from Diana Barton footlooseboomer.com

Big shout out to El Cardenal Cantina, who handed out mojitos at the end of the tour! To all our fantastic volunteers— committee members, ticket sellers, media coordinators, poster distributors, studio sitters, promoters, project managers and the artists who took part this year…you are amazing! I have had the great pleasure of interviewing many of the artists over the past few years, so if you missed the tour, you can ‘meet’ Emilio Said & Samia Farah, Joseph Kurhajec, Rodolfo Baeza, Renato Chacón and many others right here on my blog. Hope to see you next year!

Meet the Artist: Ric Kokotovich

Originally published Nov 1, 2016

Ric Kokotovich speaks in lyrics. Perhaps it’s the ten years he spent as a drummer; perhaps it’s his ongoing love and collection of music. Or maybe lyrics just pop into his head like so many nouns and verbs. On the eve of his first solo exhibition in Mexico, I had the pleasure to interview Ric amongst his work at Centro Cultural La Cúpula in Mérida, and we talked about his life as an artist.

Ric Kokotovich in front of

Ric Kokotovich in front of Sor Juana del Prado

 

How old were you when you recognized you had a creative voice?

I guess when I learned to play the drums at age 12. I practiced on chairs, tables, tin cans, myself, until my father realized I was serious and bought me a snare, a bass drum and a cymbal. At 15, I left home to tour with a band. I was 6’ tall with a fake ID and an attitude, and wanted nothing more than to be out of Edmonton and on the road.

What did you love about being a musician, and why did you leave it behind?

Music is a part of my soul and I loved the ability to express myself as a musician. I stopped touring because I got married very young and my wife didn’t want me travelling across the country as a musician, for the obvious reasons. So at 21, I picked up a camera and got my first break. I had a great relationship with other musicians, and the owner of the Riviera Rock Room hired me to take photos of bands like Split Endz, Heart, and Motely Crue. That was my first real foray into photography.

Was there a defining moment when you went from being a person who appreciated art to someone who had to make art?

Diane Arbus' Child with Toy Hand Grenade in Central Park, New York City (1962) ©MET

Diane Arbus’ Child with Toy Hand Grenade in Central Park, New York City (1962) ©The MET

I can tell you exactly. It was an image by Diane Arbus of a young boy holding a toy hand grenade in Central Park. The emotional connection I had to that photograph was visceral—still is to this day. It triggered something in me that made me want to be a photographer; to create images that would touch people the way I’d been touched by Diane Arbus.

What was the first piece, in your opinion, of fine art you created?

I think it was a photograph I made in Acapulco. It was an abstraction of a Travellers Palm, like the one I have in my garden in Mérida today. Someone paid me $250 for that image in 1979, and I suppose that was another pivotal moment in my life when I realized I could create images other people were touched by.

3 of 33 Mardi Gras photographs; Portfolio Edition of 9 ©Ric Kokotovich

3 of 33 Mardi Gras photographs 1982-87 ©Ric Kokotovich

Was there a catalyst for the Mardi Gras work?

Subculture was a fascination for me but I’m not sure what the catalyst for that first trip was. I just woke up one morning and said to my wife at the time, “I want to drive to New Orleans and shoot Mardi Gras,” and that was it. We got in my 280Z, slept in the car in a La Quinta parking lot and I spent the next week documenting the mayhem and magic that was Mardi Gras in the early 1980s. It was then I met a book publisher and we came up with a plan to shoot over five years. Unfortunately he went out of business after three years and the book never happened, but I kept shooting.

How did photography transition into filmmaking?

I’ve always been interested in story and for me, film allows for a fuller rendition of narrative from beginning to end. The story in a photograph is more finite. I was a filmmaker for 10 years and it was very gratifying. When I finished Claire with my creative partner Julie Trimingham, it was nominated for a Genie so that helped validate all the time, money and energy that went into making it. Our film, Beauty Crowds Me, screened at MOMA in NYC and even though I didn’t have the finances to be there, it was a rewarding achievement.

After completing your film in 2001, a short drama called Bitter My Tongue, you stopped making films. Tell me about that decision.

Madonna del Pueblo/Nuevas Historias ©Ric Kokotovich

I was in NYC to collect the New York Independent Film Festival Audience Choice Award for Bitter My Tongue. This was September 11, 2001 and we all know what happened that day. My film didn’t play—my world changed as did everyone elses’. I quit making films mostly because it takes a lot of money, time and energy and I was burnt out. Instead I took another easy career path (laughs) and wrote a screenplay. After two years I went back to being a photographer, travelling the world to places like Yemen, Sudan, Nepal. Photography excited me again.

Author Jennifer Egan says in Why We Write: “When I’m not writing I feel an awareness that something’s missing. If I go a long time, it becomes worse. I become depressed. There’s something vital that’s not happening. A certain slow damage starts to occur. I can coast along awhile without it, but then my limbs go numb. Something bad is happening to me, and I know it. The longer I wait, the harder it is to start again. “

How would you describe your own compelling need to make art?

Mi Barrio ©Ric Kokotovich

Mi Barrio ©Ric Kokotovich

I wake up every day and something inside causes me to look for ways to create something visual—why I have this need I’m not sure. At this point in my life I’m inspired by everything and anything; my neighbours’ house, the hummingbird I saw in my garden this morning, the perfectly crushed tubing in the middle of the road. Like the author says, there’s a void when you’re not working, and you have to fill the void with something. I like to fill the void with work, with creative process. It’s part of the stabilization I need to be a decent human being. Or at least a more grounded one.

827_03.tif

Water Lilies #6 ©Ric Kokotovich

Monet was in his early 40s when he really started to paint, whereas Jean-Michel Basquiat, for example, was a phenom in his early 20s. How would you say the gift of time has helped develop your own voice as an artist, and would you say you’re a ‘better’ artist now, at 61?

Definitely a better artist. I take more time to process clearly. More thought goes into the work than energy, and by that I mean the course from beginning to end is a straighter line than when I was much younger. As a younger artist, you throw a lot of things at the wall and hope that something sticks. Now I just want to walk up to the wall and put something on it.

The writer Elizabeth Gilbert gave a TED Talk in 2009 called ‘Your Elusive Creative Genius’. She spoke about her encounter with American poet Ruth Stone, and I’d like to quote Elizabeth here:

“Ruth Stone, who’s now in her 90s, but she’s been a poet her entire life, told me that when she was growing up in rural Virginia, she would be out working in the fields, and she said she would feel and hear a poem coming at her from over the landscape. And she said it was like a thunderous train of air. And it would come barreling down at her over the landscape. And she felt it coming, because it would shake the earth under her feet. She knew that she had only one thing to do at that point, and that was to, in her words, “run like hell.” And she would run like hell to the house and she would be getting chased by this poem, and the whole deal was that she had to get to a piece of paper and a pencil fast enough so that when it thundered through her, she could collect it and grab it on the page. And other times she wouldn’t be fast enough, so she’d be running and running, and she wouldn’t get to the house and the poem would barrel through her and she would miss it and she said it would continue on across the landscape, looking, as she put it “for another poet.”

venus-and-her-mirror

Venus and her Mirror ©Ric Kokotovich

People often believe in this phenomena of creative thought—that if you’re ‘creative’, ideas just come. With that in mind, tell me about your own creative process. Do ideas thunder across the cosmos to land in your body fully formed?

55 ©Ric Kokotovich

No, I collect things—images, objects, words, photographs of old paintings—anything that stirs something in my soul. Some of these images have been around me for years. Recently I started interpreting my own version of Madonna del Prato by Giovanni Bellini and Venus at her Mirror by Diego Velázquez. There’s a lot of story in these pieces and interpreting them is like making a film. I shoot all the elements after drawing the idea, but unlike creating a photo, I feel I’m creating a scene in a movie. The story is open to interpretation by the viewer because my interpretation doesn’t matter. I get more juice watching someone look at my work, than I do looking at my own images; I enjoy seeing that emotional reaction.

In working as an artist, how do you juggle isolation with the obvious need for collaboration and relationship?

More than anything, filmmaking taught me about the power of collaboration. Even though I primarily work alone in my studio and enjoy it, the work only becomes fully formed once it’s outside of myself. I’m currently working on a large piece called ‘Daughters‘, an experiential installation that pays homage to hundreds of missing or murdered women in Mexico. It’s a collaboration between creatives in both Canada and Mexico, and involves video, sculpture and sound. The Daughters project is an evolution of process for me and represents the direction I would like my creative practice to take; one that allows me to explore story through many different mediums and avenues of expression.

Ric Kokotovich and 39 talented artists will take part in the 2019 Merida Artist Studio Tour Feb 16/17. Visit meridaenglishlibrary.com for details on the artists, the tour and where to buy tickets.

Meet the Artist: Juan Pablo

©Juan Pablo

©Juan Pablo

The rawness of his voice matches the paintings in Juan Pablo’s studio. “Sorry, late night”, he says, clearing his throat, and a chair for me. A crystal ashtray dense with discarded cigarettes sits on a small table, like a paperweight, atop reams of sketches and drawings that lift and settle with the movement of a ceiling fan. Juxtaposed between a half empty bottle of tequila and an upturned cockroach lies a crumpled pack of Delicados. It takes a few seconds to realize the chaos on the table is a little too perfect, that I’m looking at a still life waiting to become Juan Pablo Quintal Garcia’s next painting.

Juan Pablo

Juan Pablo

There is something of the style of Juan Pablo that reminds me of Outsider Art, in terms of it’s raw unbridled creativity. When I ask him about this, the language barrier gets in the way. “Outsider Art was a term coined in the early 1970s as a synonym for ‘art brut‘ , or rough art”, I explain, “describing artists who were out of mainstream art culture. They were self taught, sometimes marginalized, but were recognized for their innate, often raw talent. Sometimes these artists weren’t discovered until after they were dead. It became a movement almost in and of itself, with prominent art shows dedicated solely to outsider artists. When I saw your work and you talked about not having formal training as a painter, I thought of you in those terms”.

“It’s an interesting concept”, Juan Pablo responded. “I don’t have formal training, it’s true, and have learned to paint by experimentation and hard work. I guess I’m not really an Outsider artist but if my paintings are outside what you typically see in galleries in Merida, I’m happy for that”.

juan-pabloI ask Juan Pablo how he became a painter. “When I was 16, I went to Denver Colorado as an exchange student and then got a job in Disneyland in Orlando. It was there I met a Norwegian girl, got married and moved to Norway. I had dabbled in painting but it was in Norway I really started to paint.”

“Was that love or the landscape?”, I ask him. He laughs. “I think both! It was also the first time I had a good job and money to buy what I needed as a painter, and I began to think of it as a career. I saved quite a bit of money and when the marriage ended after 2 1/2 years, I returned to Merida, where I’m from. I painted in my studio every day for 1 1/2 years until the money ran out. Now I teach Spanish part time and paint as much as I can.”

“You seem to have three different styles—portraits, still lives, and op/pop art that seems almost political”, I observe. “What drives you to work on one over the other?”

“I do the portraits when I have the most time, the most energy”, Juan Pablo responds. “For me they represent unity because even though the people are of different races, the emotions are shared.” He catches me staring at a lush still life not dissimilar to the table in front of us. “The still lives are like exercises in perspective and colour, and are the easiest for me. And when I don’t want to think about anything, like when I’ve been up all night or can’t sleep, I play loud music and make pop art.”

graffitti“What are the pros and cons, do you think, of formal art training and your way of becoming an artist?”, I ask. “Well that is a very good question”, Juan Pablo considers. “I think technique learned in a formal environment gives you a head start because everything I learn is through trial and error. But there is also a freedom in the sheer force of ‘doing’, that I wonder might get lost with too much structure.” He laughs again. “But sometimes I just don’t know how to do stuff, and I think having a formal critique mechanism, or a mentor, would be very good for my work.”

Juan Pablo lights up another Delicado, the smoke hanging in the air like his last statement. I can’t help thinking this is an artist who is going places and as if reading my mind, he says, “next February I plan to go to San Cristobal in Chiapas to paint for a few months—we’ll see what happens but I think it’s going to be great”.

Juan Pablo Quintal García

Meet the Artist: Jason Kriegler

Artist Jason Kriegler

Artist Jason Kriegler

When does art beget design and design beget art? When you place both in the hands of Jason Kriegler. An award-winning visual artist who hails from Chicago via Miami, Jason moved to Merida in 2014 to, as he puts it, “…shift the status quo”. If his work is any indication, the status quo has been left behind in the Windy City.

IMG_6587

©Jason Kriegler

You’ve worked successfully in design and advertising for many years. How long have you been making fine art?

Practically my whole adult life. I was born and raised in Miami and went to college in Fort Lauderdale where I graduated with a Major in Fine Art and a Minor in Visual Communications. I started painting and drawing all through college and after graduating, had shows in small galleries in both Fort Lauderdale and Miami.

How has your work as an artist impacted your work as a designer, and vice versa?

For me, the influences for both are the same—the Bauhaus movement, Jasper Johns, Robert Rauschenberg, Robert Motherwell, Frank Stella, Luis Baragan and later, Stefan Sagmeister. Their collective ideas of shape and line, form and function, abstraction and minimalism, informed my work as both designer and artist, and still do.

Did you grow up in a minimalist, design-oriented environment?

My mom is a painter now but was an interior designer who loved mid-century modern. My home in Chicago is entirely mid century modern. That said, I’m also a collector of textiles and have travelled all over the world accompanied by my fascination for colour and texture and pattern.

Las Arboledas, Mexico City, Mexico, 1962 Photo © Barragan Foundation, Birsfelden, Switzerland/ProLitteris, Zurich, Switzerland

Las Arboledas, Mexico City, Mexico, 1962
Photo © Barragan Foundation, Birsfelden, Switzerland/ProLitteris, Zurich, Switzerland

Mexico is a very vibrant culture yet your work is noticeably void of colour…

What I love about colour is in the singular moment I engage with it, like experiencing a blue Barragan wall in an atmosphere of perfect serenity. Although I appreciate colour, I personally like to create dimension without colour—at least the traditional interpretation of colour. I’m using henequen and thread in shades of blacks and grey, as well as Sumi inks from China, which are some of the richest inks ever made. So although the work may be subtle, there is a lot of depth to the pieces.

As an abstract artist, do you plan out what you’re doing or just wing it?

I work intuitively and often throw away what I’m working on. I did that the other day, throwing a piece on the floor after hours of work. As I stepped over it the next morning I thought, “Wow, this is starting to look like something interesting”. I cut it up and began collaging it with other pieces, and now I love it!

©Jason Kriegler

©Jason Kriegler

How do you hope people will respond to your work?

Art is very subjective and my work is abstract and non-traditional. Some will love what I do and some just won’t get it, and that’s fine with me. I’m essentially embroidering on paper, creating shape with thread which isn’t easy because of the fragility of the paper. I think there’s an element of the ‘reveal’ in my work, in that you have to get up close and personal to see how the pieces are created. I’m working with materials I’ve never used before, and that’s what excites me. In surprising myself, I hope that others will be surprised as well.

Jason is one of 26 artists featured on the 2016 Merida Artist Studio Tour on Saturday, February 20th. Tickets are available at the Merida English Library.

Merida on the Map

Hacienda magic

A new Palace of Music. The recently opened Centro Cultural la Cúpula. Gastronomic experiences and award-winning cuisine, charming boutique hotels and AirBnb’s. Day trips to beautiful haciendas, cenotes, and mayan ruins, and mini road trips to beach destinations like Isla Holbox and Tulum. Merida and the Yucatan are on the hipster ‘not-to-be-missed’ lists, and for good reason.

Here are just a few of the stories I’ve come across lately…enjoy!

New York Times: http://www.nytimes.com/interactive/2016/01/07/travel/places-to-visit.html?_r=0

New York Post: http://nypost.com/2016/01/12/the-mexican-getaway-thats-better-than-cancun/

Conde Nast Traveller: http://www.cntraveler.com/stories/2015-08-27/a-locals-guide-to-the-best-of-merida-mexico-yucatan

Travel and Leisure: http://www.travelandleisure.com/slideshows/exploring-the-chic-inland-towns-of-mexicos-yucatan-peninsula/14

Meet the Artist: Benne’ Rocket

DSC_0342Benne’ Rocket likes to dig deep. Whether as an art therapist or as an artist, uncovering the truth has been her raison d’être for many years. But it is her passion for encaustic painting that has her wielding her tools and torches towards sculpting a new discovery – herself.

You worked for many years as an art therapist. How did this come about?

When I went to Graduate school in Berkeley California, it was there I discovered art therapy and decided I could be both—an artist AND an art therapist. I did a dual Masters in Fine Arts and Art Therapy.

And were you able to pull that off—the dual career I mean?

Post grad school I was recruited to work at a hospital in Austin with traumatic brain injured patients, and at the same time I began exhibiting my work in a gallery there so yes, I embraced both with a passion for over 25 years.

DSC_0092_LRWhen did you start working in encaustic?

I first worked with encaustic in Mexico in the late 90s, and one of the reasons I moved here is because I’m interested in the Melipona (stingless honeybees) that are native to the Yucatan. Not only is the honey unique, so is the wax. It’s a very challenging medium that I’m still trying to master, but I love it—it spreads like butter so I use it with all my pigments.

Your pieces truly are indigenous to the Yucatan!

All of the pigmented colors are made using the local beeswax. Here I’ve found a nice range of mineral pigments, and the Copal resin I buy in the local market gives the darker colors a nice depth. Honestly, it took me almost a year to figure out the formula for these pigments.

DSC_0351When I think of wax and heat, I think of it melting off the surface. How stable is the technique?

Encaustic is one of the oldest painting techniques in the world, practiced by Greek artists as far back as the 5th century B.C. The combination of beeswax tempered with resin is applied to a rigid surface and is very stable, becoming more resistant to damage over time. The word ‘encaustic’ literally means ‘to burn in’. Each layer of the painting must be fused at high heat to form a solid surface, and this fusing also continues the process of hardening the resin.

This is your first time on the Merida Artist Studio Tour. What do you want to share with people about the work they’ll see?

This work is my visual experience of being immersed in the rich and vibrant story that is the Yucatan, and I hope visitors on the Artist Studio Tour in February will see the joy and love I have for my new home.

Visit over 25 new and returning artists at the Merida English Library Artist Studio Tour held Saturday, February 20th, 2016. Tickets go on sale mid January 2016. For more information and the list of artists, visit meridaenglishlibrary.com.

Big thanks to David Hubbard for the great photos!

Experience Art with Leïla Voight

Leïla Voight is an enigma. She’s a very private person with a very public persona. Her latest project, the multidisciplinary Centro Cultural la Cúpula, is about to open its doors to Meridanos, showcasing international artists Kimiko Yoshida and Tomoko Mukaiyama, and Mexican artist Ernesto Velázquez. Most people would shrink at the thought of a project of this scope, but Ms. Voight knows how to surround herself with the best, and on Thursday December 17th, the cultural landscape in Merida will have a new landmark.

Leila Voight

Leïla Voight ©Alison Wattie

Centro Cultural la Cúpula is an incredibly ambitious project you are embarking on…what made you decide to create this here in Merida?

LV: For many years we lived in Tulum. When we decided to make a change, we were invited to visit Merida by a dear friend who had just moved here from Playa del Carmen. We’d been here over 10 years ago and suffice to say, Merida looked radically different back then. So we took another look and kind of fell in love with the city. Even before we found this historic property that was las Caballerizas del Palacio Canton, I knew I would build a cultural center here one day. It’s an idea that has been fully formed in my head for many years—I only needed the time, space and place to make it happen.

Why do you think Merida is ready for this?

LV: From the beginning, I had a vision of Merida becoming again the international ‘living’ city that it once was; of people coming from all over the world to make their home here, which they’re now doing. And I know that the appreciation, enjoyment and collection of contemporary art, in all its forms, is an important part of connecting with a city and building a life in that city. I want Centro Cultural la Cúpula to provide that experience to both visitors and residents alike.

Have you had many naysayers during this process?

LV: My husband? (laughs) Actually he was very supportive of my vision, once I assured him we’d be able to maintain our own privacy. That said, I do have a good friend, the widow of Yves Klein, with art Foundations in both France and the US, who asked me if I was ‘wacko’—if I was prepared to give up two or more years of my life. Of course I said ‘Yes’!

As a private person embarking on a very public project, how do you align those two things?

LV: Well I am a Gemini… but I’m also a builder. And when you’re confident in a vision, whether you’re an artist, writer or entrepreneur, it has to come out. It has to find expression. And that’s what I’m doing with La Cúpula. I love to work with artists because I can make them the focus, put them at the forefront. Most artists don’t get the opportunities they need to thrive, either creatively or financially, and I believe as a society we have a duty to ensure that happens.

©KimikoYoshida_Lamarieejaponaise2003

©KimikoYoshida_Lamarieejaponaise2003

Coming back to the show…you know the artist Kimiko Yoshida personally. What can you tell me about her?

LV: She’s an amazing artist and a wonderful cook! She knows wine better than most French people. She’s a 200% Japanese foreigner, which means she’s fully Japanese but she can enter societies easily—something that can be difficult for Japanese people. In her first visit to Merida, we were still renovating our home. Kimiko and her husband melted into the culture immediately, with no help from me! She became almost Mayan…with her looks, her skills of observation, and her ability to understand and be understood. This metamorphosis shows in her self-portraits. Kimiko’s exhibition at La Cúpula is of a new body of art, and it will be up until January 31, 2016.

Tomoko Mukaiyama©Takashi_Kawashima

Tomoko Mukaiyama ©Takashi_Kawashima

And Tomoko Mukaiyama?

LV: Tomoko also visited Merida once before. A friend introduced us but we didn’t have a chance to connect until another friend with the Merida International Brass Festival (MIBF) suggested we collaborate. Tomoko is a contemporary pianist and performing artist, and as La Cúpula is about ‘Experiencing art in all its forms’, I jumped at the chance to integrate Tomoko into the Opening Night as well as for a solo recital on Dec 21st. I know the piece she’ll be playing but that’s it—she will create something unique the night of the recital.

Is she as powerful and sexy as the image on your invitation?

LV: She is! When she plays, it’s almost otherworldy. The minute she touches the piano, she becomes someone else. She’ll also be performing with the Merida International Brass Festival so if you miss her at La Cúpula, you may still get a chance to see her.

Your third artist is a furniture designer who works in the ancient art of parchment, which is actually goatskin. Tell me about Ernesto Velázquez.

LV: The word parchment refers to animal skin and Ernesto is a true ‘parchmenter’. His workshop is like an artist studio, with paints, canvasses, skins, frames—it’s amazing. Ernesto has taken furniture design, in terms of his approach and sensibility, to a new form. The pieces are like paintings, with layers and layers of color and texture. Ernesto is from Mexico City but lives in Merida, and we’re very excited to show his work.

What can people expect at the opening on December 17th?

LV: To be surprised, amazed, inspired, delighted…the opening will be like a grand meal with the furniture design as the appetizer, the visual art as the entrée and the music as the dessert.

What are you excited about for the future of Centro Cultural la Cúpula?

LV: Number one: to be self-sustaining through sales of art, performances, workshops, and yoga intensives. Number two: to use the charitable component of the foundation to provide workshops in art for children, the infirm and disabled, and those without access to this kind of opportunity. Number three: to open minds to the world of contemporary art. And lastly, to entice, beguile, captivate and enchant our visitors so that time and again, they come back to experience art at La Cúpula.

The Grand opening for Centro Cultural la Cúpula is Thursday, December 17th at 7 pm. For more information and to purchase tickets for Tomoko Mukaiyama’s solo recital December 21st, email lacupulamerida@gmail.com or visit them on Facebook at lacupulamerida.