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The review by Ida Rodríguez [Prampolini] is one of the most complete ever written about the exhibition by Los Hartos [The Fed-Ups]. With fondness and a nimble style she describes the work and each of the 12 personalities who participated in that exhibition. It does not avoid contradictions that she perceived, when wondering why the great illustrator José Luis Cuevas presented a mural, or why the young architect Pedro Friedeberg should shine with a set of eerie tables mocking architectural functionalism. She calls the 12 exhibitors—to whose trade or occupation she repeatedly, to the point of exhaustion, attaches the ungrammatical “h” in reference to Los Hartos — apostles of a movement that does not go against the grain of art but against the modern artists who presume to be representatives of “great art.” She transcribes in full the manifesto which was distributed together with two other documents: an application to be allowed to be called “h-artist” and a pamphlet with warnings in which Los Hartosasked not to be confused with the neo-Dadaists. They announced that they were fed-up with Dada, since they rejected the glorification of the individual. As a group, they pronounced themselves “realists,” but their realism was moral, apologizing thus in case any artist was offended. In Ida Rodriguez’s opinion, the inauguration of that exhibition was a serious and simultaneously ironic show; its ethical and philosophic character was a unique protest or a call to attention in order that the cultural future of the country is less trivial.  


Previous to the group exhibition Los Hartos was the individual show The Realism of Mathias Goeritz inaugurated in November1960 at Galería Antonio Souza in Mexico City. There, Mathias Goeritz (1915-1990) distributed his manifesto, “Estoy harto” [I am fed up]. According to Francisco Reyes Palma, the document is a response to the triumph of abstractionism in the Second Inter- American Biennial of Painting and Sculpture that was held in Mexico City that same year. It is worth pointing out that this was not the first time that Goeritz distributed manifestos. In March of the same year, in New York, he had distributed a brief note: “Please Stop!” during the inauguration of his exhibition Messages, Realizations Commentaries at the Carstairs Gallery. A second manifesto entitled L’Art-Prière vs. L’Art Merde [The Prayer Art versus The Shit Art] was delivered by himself at the Galerie Iris Clert in Paris, two months later, on the occasion of the exhibition La pyramide mexicaine [The Mexican Pyramid].

Ana María Rodríguez
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Courtesy of Ida Rodríguez Prampolini, Veracruz, México

Instituto de Investigaciones Bibliográficas : Biblioteca Nacional / Hemeroteca Nacional