Trece San Mástiles 1949

Editor: Here we have "Trece San Mástiles" painted by Xul Solar in 1949, a mixed-media piece including tempera. The image evokes a rather dreamlike urban space, like some kind of fantastical futuristic city, almost unsettling... What's your take on this piece? Curator: Well, considering the historical and social backdrop, it's fascinating to see how Solar appropriates and subverts familiar visual tropes. This cityscape isn't just a depiction of a place; it's a commentary on the socio-political landscape of his time and perhaps, a utopian vision of the future. Note the prevalence of ladders, for example. What might they signify? Editor: Access, aspiration, maybe even the potential for societal mobility? I'm also intrigued by the repeated face motifs atop each mast, which feel almost ethereal. Curator: Exactly! Solar was deeply interested in esoteric philosophies and creating universal languages. He saw art as a means to communicate profound spiritual and intellectual concepts. The androgynous figures likely represent spiritual guides, perhaps. Their repeated presence reinforces art's didactic role. Do you see the geometric patterns? How do they reinforce or subvert social meaning? Editor: Now that you mention it, the geometric forms feel somewhat rigid, which clashes with the fluidity of the figures, thus adding complexity to the piece's message. They suggest something of society's rigidity alongside dreams and possibilities for spirituality. Curator: Precisely! And, Solar presented this publicly, adding a dimension to the politics of the work. Thinking about this city in conversation with Solar's position as an Argentinian artist adds a richness to our understanding. Editor: I never thought about this painting having such a distinct political message, thank you for enlightening me. Curator: And you, for observing nuances in the relationship between rigidity and fluidity in geometric form, this enriched the perspective for us both.