LBC CenterStage Transforming Latin American Art A Conversation with Gregorio Luker by Tom Hayashi Gregorio Luke is the former Consul for Cultural Institute of Mexico in Los Angeles, Deputy Director of the Mexican Cultural Institute of Washington D.C., and First Secretary of the Embassy of Mexico in Washington D.C. He has organized exhibits, concerts, lectures, book and film festivals, and seminars. He's also lectured extensively on Mexican art in Museums and universities in Mexico, Europe, and the United States. Since 1999 Mr. Luke has been Director of the Museum of Latin American Art (MoLAA), and continues to apply his wealth of experience to lead and administer the cultural programming of the museum. At MoLAA, Mr. Luke also regularly lectures on Latin American cultural subject matters and personalities such as: Series on Mexican Culture: History, Cuisine, and Dance; Diego Rivera, Frida Khalo, David Siqueros, Earnest Hemingway, and Octavio Paz. For his tireless contribution to the cultural enrichment of the community in Long Beach, he was recently awarded the Nuestra Imagen Awards from the Community Hispanic Association. LBC: Why should the general public be interested in contemporary Latin American art? Luke: Because the Latin American experience is very relevant to this country for two (basic) reasons: 1.) The Geography and history 2.) More importantly larger Latin American presence, both economic and cultural… LBC: So, would you say that visual art is collectively the aesthetic product resulting from historical, economic, and regional inter-relations between the culture of the northern and southern regions of the Americas and therein lies one of the value of what we know as contemporary Latin American art? Luke: Yes, this phenomenon that is still being played-out before our very eyes in every day life not only in California, is an evolutionary process if you will…There has been considerable influences enjoyed by both sides (U.S. & Latin America ) In the visual arts, we have evidence of the Mexican muralists participating in the public arts project at the early part of the 1900s to stylistic influences evidenced by introduction and subsequent dialogue (intellectual exchange) between Jackson Pollock and David Siqueros…In literature, you have such writers as Hemingway and Faulkner…so, not to get off the original point here, but I really see a transformation of Latin American art being regarded as not only as a mere novelty but it plays an important role in the emergence of the Orwellian world -the cultural borders are becoming more blurred in some respects and there are more of an integration of ideas and philosophies not only between North and South America but also with respect to our participations with Asia and Western Europe. LBC:What do you think would be required and of whom in order for contemporary Latin American art to gain mainstream interest/acclaim as other visual art traditions, i.e. Western European/American art? Luke: As I have touched very briefly on my previous comment, that due to that fact that we share such an intimate history of economic, social, and political exchange that it is and has become inevitable that this non-linear process of ethnic intercourse has been integrated into the cultural fabric of the American mainstream. So, by the public participating in the other cultural aspects of Latin American experience such as the various musical tradition to the cuisine to hand-made crafts to…the fact that people are allowing themselves to experience a wider and different forms of living is very important in terms of interest or appreciation for Latin American art. I believe Latin American art does not necessarily have to play second best to other forms of the visual arts traditions. It should not be compared as inferior to Western European or American art. LBC: Do politics influence art or vice-versa and is this question particularly germane with regards to contemporary Latin American art because it is often popularly perceived that much of it is very political? Luke: Art and politics has always shared the same bed so to speak. The influence of both camps is most often seen with politics influencing the art more than the other way around. But, it is an obvious complement and the obvious example comes to mind in the case of the Mexican muralists: Rivera, Siqueros, and Oroscos who not just painted these propaganda oriented works to get a certain message across, but what makes these works so exceptional is that they had all the right elements of bold beauty. I think that is why they still can and do speak to us so boldly today. The bed that art and politics share is passion, this intense emotional experience that some how must be expressed and there really is no better forum in which to do this but through the arts… But, don't get me wrong, there are a lot of bad political art out there and I think there always will be, but it is not because they are political, rather, it is because it just lacks in quality of technical execution, composition, etc. One thing is certain…art is greater than politics and it can does deal with so much more… LBC: How about an easier question for a change: do you have a favorite or maybe I should say artist(s) that you are particularly fond of? Luke: An easier question? LBC: Well, maybe not… Luke: I am definitely fond of the (Modern) Mexican Muralists…(David) Siqueros for his vibrant, bold style, Diego (Rivera) for his sense of simple genius, his literary style of painting, (Frieda) Kahlo for her inner vision, Tamayo (Mexican Painter) for his use of color, Torres-Garcia (Mexican Painter) for his intelligence, Armando Morales, for his absolute command of his technique, oh let's not forget (Fernando) Szyszlo (Peruvian master colorist) who's use of color is amazing, brilliant!! LBC: Turning to a question of local significance, what role does the Museum of Latin American Art (MoLAA) play in the development scheme of the East Village Arts District? Luke: Strategically, I believe MoLAA is the anchor for the whole are…if MoLAA enjoys any measure of success in the future, the whole city stand to benefit as well, economically, culturally, etc. We have the opportunity to aid in the process, to become an active partner in the development of this local area called the East Village, but most importantly, thinking out-side the box for a minute, we have the awesome chance to attract an international crowd to the artists who work in this district. (Referring to the Artist live/work space currently being renovated just few blocks away from the museum grounds on Alamitos Ave.) There clearly is much riding on the success of all participants in the social health of the neighboring areas that is being transformed today… LBC: What sets MoLAA apart from other museums besides the obvious? Specific to exhibitions, programming, etc.? Luke: I believe in a word: "Focused." LBC: Sometimes "focused" can and do mean narrow…is this the case here? Luke: Not, at all…I believe we are focused in the sense that we are very clear about what we want to accomplish. Yes, we are a museum that specializes in the exhibition, collection, research, and education of contemporary Latin American fine art. However, we have exceeded the basis of our mission statement to include a series of dynamic programming that helps the public appreciate the art…For example, we have the lectures, the fiestas (parties), the dancing, the hands-on workshops, films, performance art, and on and on-we pride ourselves in calling our museum "much, much more than just a museum." We offer a complete experience as opposed to a narrow or an incomplete experience no?… LBC: On a scale of 1 - 10, 10 being the most challenging, how does your current post stack up to your other past occupations? Luke: It's different, it's a different type of challenge…I'm not sure if I could give it a score, per se…At the (Mexican) Consulate, I was involved in the negotiations for NAFTA (North American Free Trade Agreement) in Washington D.C. and with the proposition 197 and 227 anti-immigration measures, I was greatly challenged in advocating on behalf of the Mexican citizens in California. My charge right now as the museum director is to do whatever that I must to make and keep MoLAA a self sustainable institution… LBC: Surely as the MoLAA Director, there's a good day and a bad day right? Luke: Yes, well that appears to be the most understated question I think you have posed this afternoon…(laughs) LBC: I assume that having a sense of humor is an occupational necessity…What then is your best day like? Your worst day? Luke: My Best Day is when I succeed in building that bridge (of understanding) between the people of Latin America and the U.S… maybe through one of my lectures that I give at the museum or through a new exhibit…somehow deep down inside I feel, when I look into the eyes of the people who come to the museum, that something clicked inside, there was that "ah ha!" moment. The Worst Day is mired in bureaucratization, the day is tattered with pettiness, the difficulty of getting things going is felt from the beginning of the day. Too often, we end-up confusing talking about something with working things out to actually picking up the pieces and going-on. I think worst day is when I cannot seem to inspire a sense of optimism in my troop…But, I realize that a worst day or a bad day is just what it is…it too shall pass and we must go-on…fortunately, I don't have too many of these… LBC: Really? Luke: Really. LBC: What is the best advice that you've taken and given? Luke: My God-Mother who was a very patient and gentle lady who worked in her garden everyday, who even domesticated a cockroach once told me: "Just do the thing you love the most." LBC: I take it that you are/have been following her advise all these years? Luke: Yes, pretty much…I'm pretty happy with where I am in life… LBC: What is the next big fish you would like to fry? Luke: I have three goals: 1. I would really like to see the museum succeed in realizing its mission in the long-run. I would like for it to be able to make a world-wide contribution and for me and my staff's efforts to be enjoyed by countless numbers of people. 2. I would like to continue to produce and perform lectures that will bring a sense of appreciation and understanding of cultural phenomenon of the past, present and future that most people may not have bothered to study on their own. 3. And lastly, I would like to have a hand in promoting other lesser known cultural activities, performers, and public offering that the public has yet to be exposed to. I would like to shatter the notion that Non-European products or performances in the humanities are inferior. I would like to try to elevate the take on these various styles to a level of respectability through promotion of appreciation and understanding. It is so important for people to have access to the arts in every shape and form. I am willing to work hard to accomplish this… LBC: Thank you Gregorio, the community must feel very proud and fortunate for you and your staff's exceptional dedication to meeting the potential of the museum's mission-pleasure… Luke: Thank you. It has been my pleasure as well… For further information on museum exhibits and programming please call 562-437-1689. 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