Upon entering the former official residence of the presidents of Mexico (now Los Pinos Cultural Center, CCP) through the Chivatito access, the first thing you see is the old barracks of what it was, with its insignia and its letters: Presidential General Staff .
To give it a dramatic and malicious touch, this administration added, below the EMP shield, a bronze legend that did not exist: No one touches the President!
You cross a street market selling garnachas, quesadillas, huaraches, gorditas, tlayudas, pinchadas, and tacos de stews, and you find the main house, the Miguel Alemán residence, where almost all the Mexican presidents have lived since Lázaro Cárdenas ordered the construction of Los Pinos to make it official residence.
After touring a photo exhibition dedicated to the dissemination of Chinese culture and tourism, you enter the rooms where hundreds or thousands of families come every week and receive a particular lesson on events in our history, such as the one depicted. in a painting (part of an adulterated colonial codex, in the name of “art”) that shows “The schemes of corruption in Mexico”, during the mandate of the “neoliberal” presidents.
He says, with figures from pre-Hispanic Mexico:
-”SEP: sale of places for teachers in public schools”.
-”Taxes for the poorest.” The SAT collects the money from an Aztec with a loincloth as his only clothing.
-“Justice for those who can pay it.” There we see a building with pre-Hispanic features that has the letters SCJN.
There is an indigenous chief on the steps of the Supreme Court, who is approached by other poor indigenous people who cry with thick tears that fall from their eyes to their cheeks. Next to them there is one with an elegant blanket who raises the thumb of his left hand while in his right he carries a handful of bills to give to the ministers.
And there is another one, also richly dressed, who jumps with happiness and throws bills into the air. He has the legend: “Deductions for the richest.”
-An indigenous person representing a government worker holds a chest full of gold coins, with two legends: “Health and Education. “Looting of public institutions.”
-“Public Health”, reads in another figure, in which an indigenous chief inhales from a bonfire where the poor deposit their money.
Before crossing through a bathroom attached to the bedroom, I see Vicente Fox and Felipe Calderón with the text: “Between 2002 and 2012, mining companies took 28,388 tons of gold and silver, double that of the Spanish crown during three centuries.” .
Finish off. Felipe Calderón: “At the end of his government there were more than 104 thousand dead and 14 thousand missing.”
The entire wall of a bedroom is dedicated to President Calderón in which there is nothing but “Felipe’s Canvas,” another adulteration in the name of art.
He says that the canvas “Narrates an alliance against the contemporary Mexican, the pact between García Luna and the Sinaloa Cartel in Felipe Calderón’s so-called War on Drugs, which plunged the country into a cycle of violence and impunity.”
In it, García Luna is drawn hugging with him. Chapo Guzman. The first, protected by a member of the Federal Police, and the Badiraguato boss escorted by a bearded warrior, with the holy cross of the Spanish conquistadors who has tied a cloth that says: Sinaloa Cartel.
The drawings of different cartels in war, blood, dead, come there, as a macabre work of the president to whom they dedicate that wall of the Miguel Alemán residence in Los Pinos.
You cross a room, located next to the balcony on the second floor of the house, in which there are speakers with murmurs and a documentary is playing on a television that has subtitles in Spanish with spelling mistakes.
The murmurs, one explanation says, are the names of those who disappeared in previous administrations.
In the background, a large painting informs visitors that Latin America is anti-imperialist.
We arrive at the room where “The Death of Luis Donaldo Colosio” is exhibited.
It is explained that: “This series of paintings consists of five oil paintings on canvas in which the artist pictorially reproduces five consecutive steps of approach (zoom) to a frame taken from a video: a process in which the artist takes us from the figurative to abstraction. The scene contains a dramatic character: it is the moment in which the gun that killed Luis Donaldo Colosio was fired.”
In fact, the oil on linen shows the exact moment when Colosio receives the bullet. Then another painting with greater close-up, and so on, successively, until the crime remains an abstraction.
Adjacent is a relatively small room with photographs of comfortable, expensive and sensual-looking sheets, as well as fine linens in half-arranged bedrooms. Above the photos, large blood red letters: FIRST LADY.
