Lotería

Artist Statement

This Installation is large in scale (approximately 10’x 27’) and consists of 54 small individual oil paintings on wood panels, each measuring 14.24”x 9.5” x 2”. I am excited by both the large scale of the whole installation, and the detailed paintings that draw the viewer in with color, language and humor which celebrates the culture of Mexico. I based the format of this installation on the popular Mexican game of chance called “La Lotería”. There are 54 cards in a Lotería deck. Each card shows an image with a word describing that image in Spanish -hence the total number of 54 small paintings in this installation. I wanted to paint images, impressions, and ideologies that would tell of my experiences of the Mexican culture in a fun and objective way. Though I have been traveling, and living in Mexico off and on for over 20 years, this installation was conceived while I was living in San Miguel de Allende, Guanajuato, Mx. in 1995. I spent 1 year in research on the historical and social importance of this game, and 1 year in production. Many images within this installation depict icons of humor, irony, and faith found throughout Mexico which are concepts that are often employed to deal with the harsh realities of life. These concepts allow many people living in Mexico to maintain sanity in a context, that at times, seem controlled by the irrational. I find this way of thinking very inspirational and infectious and hope the viewers of this installation will come to understand and appreciate this approach as well. Although this installation is only a small attempt to express the unique culture of Mexico, may passion serve as apology for imperfection. – Teresa Villegas

Teresa Villegas “La Lotería: An Exploration of México”
54 oil on wood panels each 14.25″x 9.5″x 2″ each
(36cm x 24cm x 5cm) each
Installation size 10′ x 27′ (3meters x 8 meters)

La Lotería: An Exploration of México

Every culture has its idioms and icons -certain words and images that transcend the literal and reside in the psyches of the people. This installation entitled “La Lotería: An Exploration of México” explores some of the ubiquitous images of Mexico by using the format of La Lotería, a popular Mexican game of chance. This artwork has drawn upon Mexican traditions, historical figures, gastronomy, and popular culture, translating them into images familiar and recognizable to those who have experienced this distinctive culture. The purpose of this installation is to inspire interest, understanding, and dialog between the people of the United States and Mexico.

The images depicted in this installation run the gamut from the mundane to the obscure. Anyone who has crossed the border, ventured into the central highlands, or spent time on the beaches of Mexico will find some or most of these images familiar. Each image was created independently without reference to the others. Despite this, certain themes may be discerned within the installation. Food, for example, often has strong ties to the national identity. When consumed, it often evokes memories of childhood and family. The food depicted within this installation is found throughout Mexico -including churros (no.49), nopales (19), horchata (no. 17), pozole (no.50), and others (no.  15, 22, 24, 29, 35, 44).

On the surface, Mexico may appear to be a homogeneous society in regards to its Catholic beliefs. However, faith is practiced in a wide spectrum. This ranges from the traditional objects of devotion -candles (no.16 ), ex-votos (no.26), milagros (no.36), and handcarved saints (no.11) – to images of the pope depicted as a Day of the Dead sugar skull (no.23), magical powders (no.33 ), and the ever-present diablito (no. 21) who provides temptation in all forms.

The male figures in this installation embody many of the traits most admired in Mexican culture. We see the machismo of the street-corner fire breather (no.5) and the professional wrestler (no.7 ). We see the quiet dignity of the unassuming humanitarian physician Dr. Jose Gregorio Hernandez (no.3 ), so widely revered throughout Latin America. Ironically, perhaps the two most recognized men within this series are masked. Since pre-Columbian times, Mexico has been enamored with the mask. It serves as both a shield and a hiding place. The famous good-guy luchador El Santo (no.9 ) and the popular spokesperson for the Zapatista movement, Subcommandante Marcos (no.39 ), each represent a masked champion whose silent face embodies the face of millions.

The female figures of this series also represent strong individuals whose actions have had an impact on many, even if their voices were heard by only a few. Number 12 refers to the pious nuns whose portraits were painted upon entering the 17th century convents, and number 51 to the prostitutes who would indicate their availability via their surrogate dolls. We see the revolutionary Doña Josefa Ortiz de Domínguez (no.52) Whose whispers helped free Mexico from Spain, and the Virgin of Guadalupe who spoke only to Juan Diego and became the crucial link between European Catholic and indigenous spirituality. No other woman’s image is as widespread as this Virgin’s, whose depictions run from the divine to the sublime, from high art to kitsch (no.47).

Mexico offers a broad spectrum of popular and high culture, from the fashionable modern soap opera (no.54) and the graphic novels of the historietas (no.18 ) to the famed poet Sor Juana Inés de la Cruz (no.32 ). How poignant to realize that Sor Juana’s works were deemed scandalous and she was ostracized in her own lifetime, yet her face now graces the Mexican currency used to purchase the necessities of life -a perfect example of how sometimes irony and humor are often unintentionally juxtaposed in Mexican culture. This installation embodies only a portion of the diversity of Mexico, and its aim is to give viewers from other cultures a sense of the richness of Mexican culture. Viewers will also see that the people of Mexico share many of the same motives and beliefs as any other people -including desire (no.2), liberty (no.38), and a sense of destiny (no.40).

History of Lotería

The traditional Lotería board game originated in Italy, moved to Spain, and finally came to Mexico in 1769. Initially played by the colonial Mexican elite, it eventually was embraced by all social classes. In the 19th and early 20th centuries, Mexican farms and towns were few and far between. Traveling ferias (fairs) would set up in these ranchlands and small towns on the weekends, and many people would go to them especially to play Lotería. The game is very similar to American Bingo, with some differences. In Bingo, a number with an associated letter is randomly chosen from a rotating drum, while in Lotería, a card with a colorfully illustrated image is drawn from a special deck.  The modern versions of these cards also contain the name of the image at the bottom and an associated number at the top. In both games, each player has a different game board. In Bingo, the game board has random numbers listed under their associated letters, while in lotería, the board (tabla) has a random pattern of images matching those found on the cards. Many of the older tablas do not have words or numbers, since the game originally was found in prose. These tablas were made of either tin or paper that had been hand painted by popular artists, some of whom specialized in this art form.

How Lotería Is Played

In Bingo, an announcer calls out the selected letters and numbers, and the players mark their game boards accordingly. In Lotería, the announcer gives an improvised short poem or familiar phrase alluding to the imageon the card (e.g. “the coat for the poor” for theimage of the sun, or “the one who dies by the mouth” for the image of the fish). Each player uses a chip -often a kernel of corn or a bean to mark the corresponding spot on his or her tabla. In either game, the first player to appropriately fill the game board or tabla in a predefined pattern will shout either “Bingo!”or “Lotería!” to win the game and receive the prize.  The announcer’s approach will often depend on the social context in which the game is being played. At a church bazar, for example, he might use a more tame humor, while for a game played in an adult setting he might use innuendos that are more risqué and derisive. Satire and references to contemporary events and politics are often a part of the word play involved; in fact, the linking of images to social commentary has existed since the inception of the game.

Lotería has been played as a game of chance, as a pastime, and for educational purposes. Because the Lotería cards include the name of the pictured character, they are used to teach reading, writing, history, and social values. Many bilingual teachers use the game as a teaching tool in the United States.One of the more interesting historical versions was an educational, liturgical Lotería that appeared in the 1930’s.

The images employed were objects and concepts found with the Catholic Church. This combination of the irreverence and banality of the game coupled with the solemnity of sacred symbols had some Catholics concerned. While the marriage of church and gambling in the form of Bingo is common in the United States, the initial intent of the church-sanctioned liturgical Lotería was more educational-to allow the parishioners to differentiate between a tunicle and a maniple, for example.

Lotería Today

The most recognized version of lotería is the “Don Clemente Gallo” rendition introduced in mexico in 1887 by the French businessman, Don Clemente Jacques. He purchased a manufacturing plant in Mexico to produce many items including packaged food products, corks for bottles, and ammunition. In their printing press section they produced labels for the packaged food, invitations, party favors, and the game La Lotería. The owners today of Don Clemente Gallo Pasatiempos, have continued this version through three generations. Throughout the past hundred years, the original artwork found on its 54 cards, has remained the same. Don Clemente Gallo Pasatiempos own the registered trademark of the original images, including the most famous and better known images that have existed. As Mexican culture spread across the border, so did the demand for the game within the United States. The original Don Clemente Gallo Lotería game can be purchased today in Mexico and in the U.S..

In 2001 Don Clemente Gallo became partners with Teresa Villegas in creating an updated version of thier original Lotería game.  Gallo asked Villegas if they could use the images she had created for her installation titled “La Lotería; An Exploration of México” to create a game of lotería titled “El Nuevo Versión”.  Understanding that this was an historical event since the images of the original lotería games hadn’t been changed in over 100 years, Villegas was honored to accept.  This was also an opportunity for Villegas to give back to Mexico and continues to donate the royalties she receives from Gallo to F.A.I. (Fundación de Apoyo Infantil) Save The Children Mexico (Guanajuato).