Description of the project by ARCHIVO Diseño y Arquitectura
The Dynamic Museum existed between 1962 and 1967: an initiative of the cultural promoter and former head of the Department of Fine Arts of the National Institute of Fine Arts, Miguel Salas Anzures, and the bold architect Manuel Larrosa. Salas Anzures and Larrosa created the Dynamic to include artists without a museum that eventually became known as la Generación de la Ruptura -Manuel Felguérez, Lilia Carrillo, Alberto Gironella, Vicente Rojo, Fernando García Ponce, Angelica Gurría, Luis Nishizawa, Enrique Climent and Waldemar Sjölander, among others - in addition to the photographic work of Nacho López and other artists more difficult to classify, interested in theater, performance and conceptual art, such as Alejandro Jodorowsky and Juan José Gurrola.
In the three presentations of the Dynamic Museum in Mexico City, the experimental houses designed by Larrosa - before being inhabited - were occupied by these artists, who transformed domestic spaces into transitional stages for pictorial, sculptural, theatrical and performative expressions; as well as for the party and the happening, for the rejection of the official culture and for shaking up the institutional not receptive structure.
With its particular mixture of art-theater-event-architecture, the Dynamic Museum prefigures the cultural overturning towards the scenic, conceptual and ephemeral of subsequent decades. In a historiographic exercise of appropriation and redefinition, Mario García Torres makes a contemporary reading and recovers the experiential essence of the Dynamic Museum, rescuing documents and original works from the oblivion and proposing a series of gestures and actions that allude to the nature and atmosphere of the initiative, while reviving the architectural memory of Manuel Larrosa around a milestone buried in the recent history of Mexican culture.
