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Load Next Page. For specific information on these restrictions, please contact the hotel directly. These exceptional structures bear witness to a rich, varied, and singular cultural tradition. Select Rooms. Australia New Zealand. Archived from the original on 12 January
Aug 3, The Palm Beach Post. Aug 1, One Day in September. Retrieved 26 July Retrieved 2 July Outlook India. Retrieved December 24, Kentucky New Era. Retrieved January 10, He went on to sustain a vast correspondence with these artists. Also in , he published three articles in Minotaure , the quintessential surrealist review 4. He didn't have what it took to remain in Europe and, by resisting there, to become a "savage. From that great flight, from his self-determined exile, he achieved his greatest feat.
He went, both geographically and culturally, as far as he could. He arrived in Mexico in the year , by invitation of his friend, Geoffrey Gilmore. James also inherited a considerable amount of money following the untimely, albeit aristocratic demise of an uncle who was crushed by an elephant during a hunting expedition. All three are found in Minotaure , Ed. Albert Skira, Paris. The architecture raised by Edward James at Las Pozas must be considered surrealist; it is representative of said movement due to its creator's antecedents, its heterodoxy, and its obvious appeal to dreams and the subconscious.
It is an architecture that has been "wasted" in an unprecedented fashion. It is expensive, gratuitous, disorderly, and irrational. It is an architecture built without preparation, through automatism. Like surrealist automatic writing, it seeks only liberation, free association, and beauty. Sixty-eight local masons came to work at Las Pozas and were paid weekly for their collaboration on this construction, contributing their ideas to the compound and enriching it with their solutions.
Therefore, we ought to consider that sixty-eight families in Xilitla made a living from the singular feat that was accomplished by these workers: masons, bricklayers, blacksmiths, carpenters, etc. In this sense, even today, the hillside where the La Conchita Ranch is located exudes man-hours.
The buildings are vividly laden with this activity -this labor-, one that is linked to cultural and artistic activities and is potentially capable of humanizing and transforming the world without resigning itself to accentuating economy, order, efficiency, rationality, and, above all, the value of architecture as merchandise. All of which makes this an exceptional and, at the same time, unique case, because once again, we stress here that Las Pozas wasn't built in order to complete a site for later use.
Rather, building was done in order to create free associations, for people to gain an understanding of themselves, to attain happiness, and do something beautiful without caring whether a building was being completed for its functionality, or for its monetary value. Therefore, the product of said labor as well as the work itself and the way in which it was organized was sui generis , given that it manifested what was at the time a non-conformist, surrealist stance with regards to the values on which the Western world was founded as a whole.
These structures are an emotional, moving kind of architecture; and, at the same time, they are architecture-sculptures. They are constructed caprice, as we Spanish-speakers say --"folly", according to the English. They represent the surrealist movement as a unique architectural masterpiece of the human creative genius, making them unparalleled. For years, Edward James encouraged collaboration from his workers.
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However, at Las Pozas, his interlocutors and the recipients of his generosity were local masons, carpenters, and blacksmiths. He dialogued with them, he proposed ideas, and he paid them for their work. The masons themselves, upon executing said work, enriched it with their personal interpretations and contributions. This dialogue with workers who were accustomed to looking at their surroundings and their labors from a traditional, local, folkloric, and agrarian perspective was fomented by Edward James in his capacity as an intellectual, and as a knowledgeable patron who was already the owner of a vast collection of surrealist art.
It can be stated that surrealism as an art form, unlike previous avant-garde movements, upheld free association and correlations between opposing references. But in addition to psychoanalysis or Marxism, it also aspired to change the world, and its tenets have survived until the present day. Mexico welcomed Breton when he traveled here expressly to meet with Leon Trotsky. They drafted, together with Diego Rivera, a manifest: For an independent revolutionary art. In later years, those who espoused the surrealist aesthetic, including poets of the stature of Octavio Paz, would write some of their most important works.
Indeed, "Obsidian butterfly" appeared in the Surrealist Almanac and was later published in a fundamental book: Eagle or Sun? Therefore, an exchange of values and artistic proposals can be seen in the edification of structures and in the folly of Las Pozas that is, in this case, transgressive. This site belongs to a learned surrealist tradition that, decanted and enriched by local popular culture over a set period of time was and still is today a singular, inimitable testimony to amalgamation, the collaboration between a patron and a series of Mexican workers culminating in the edification of a place that is unique in the world and, therefore, extraordinary.
These exceptional structures bear witness to a rich, varied, and singular cultural tradition. They maintained this private space with great affection, lending it a public character so that it might be visited. They were also vigilant that its spirit not be altered, or the structures within deformed.
On a municipal and state level, this limits any attempt to construct either on the site itself or its bordering properties, in order to protect the structures built there as well as the integrity of the natural gardens.
