Excerpt from a podcast-style YouTube interview with Pedro Friedeberg where he recounts early architectural studies at Eboro, a formative mentor (Matías Goeritz/Gitt described as religious and sponsored by Luis Barragán), and his first exhibition at Rosita Balagüe’s gallery. The speaker names several contemporaries and immigrants in Mexico City’s art scene (Remedios Varo, Leonora Carrington, Walter Grün) and mixes personal anecdotes about drawing and working in a store during holidays.
Chapters
He decided to study architecture at Eboro for a short time. And met one of his great mentors. What was the great life lesson that Matthias Gitt taught him? He was the complete opposite of mine. On the one hand, it was what Okar Wilde. That nothing that happens today is important. On the other hand, he was deeply religious and did several works in various chapels. He was also sponsored by Luis Barragan, his great friend who brought him to Mexico. He and my friend, the critic Arteta Rodriguez Prampolini. Tell me about your first works, your first exhibition. I had my first exhibition at the gallery. A gallery that belonged to a Mrs. Rosita Balague. Who is the wife of a music critic. I believe. At that time there were many Spanish emigrants, Spanish immigrants. So he already had this place on the corner where the fountain will now be. The one that follows Diana entering Chaputepec. Because Diana was not there. Diana was moved. I used to draw every day. I love drawing, especially architectural drawings. Someone asked me why I didn't show them that they were very interesting. I thought it was a great idea. I understand that it was also with the help or collaboration of Remedios Vero. Well, she introduced me to Mrs. Rosteig. Because Remedios Vero was the wife of Walter Green, who was also a very good friend of my parents. He was another immigrant, I think Austrian or German. And she had a deeper or closer relationship with Remedios Baro? No, I saw her very little. She was more of a Leonora Carrington. Remedios was very. Remedios took about six months to paint a picture. She was always locked up in her studio. And by the way, during the holidays I worked with Mr. Walter Grun. Who was a partner in this Margolin store where they sold tires and LP records. Yeah.
