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© 2015 ELS FILMS DE LA RAMBLA S.A. ||  VENTURA PONS

UNIVERS(O) PECANINS

SYNOPSIS

The Pecanins family lived through the Spanish Civil War and saved the post-war and dictatorship. They left a gray country and entered the splendid Mexico of the fifties. Another world. They integrated quickly, without losing their roots. Four generations passionate about art and adventure.

The Pecanins family lived through the Spanish Civil War and saved the post-war and dictatorship.

They left a gray country and entered the splendid Mexico of the fifties. Another world. They integrated quickly, without losing their roots.

Four generations passionate about art and adventure.

Pecanin's Sisters
UNIVERS(O) PECANINS
 
 
 
UNIVERS(O) PECANINS
 
 
UNIVERS(O) PECANINS

DIRECTOR NOTES

The Pecanins, Montse, Tere and Anna Maria sisters celebrated each anniversary of the Pecanins Gallery as a miracle. For 45 years they managed to live as if it were a party, although it was not as easy as it may seem. They represented an entire era in the history of Mexican art.

 

For almost half a century they were the benchmark of Catalan and Mexican art. Montserrat, the largest of the three sisters, years after opening the gallery, spent many periods between Mexico, New York and Barcelona. Tere and Anna Maria were twins and both were the most endearing and emblematic gallerists of the Zona Rosa.

 

Montserrat makes precious boxes with particular and exquisite worlds. During his long stay in New York he came to exhibit at Tiffany's.

 

Tere, was not limited to a single artistic dimension. He also devoted himself to the art direction of films and television series. He entered the world of cinema because of his friendship with directors who in the 60s began to propose a Mexican cinema independent of the industry, the new Mexican cinema.

 

Anna Maria exhibited her paintings in the Barcelona-Mexico-United States triangle.

 

Yani Pecanins, daughter of Tere, is the author of collages, boxes and installations that rescue memories. Betsy Pecanins, daughter of Anna Maria, sang blues, rancheras and sounds. Marisa and Beba, daughters of Montse, have made inroads into film, television and art. Walter Doehner, son of Tere, is a renowned Mexican filmmaker.

 

The Pecanins landed in Mexico when Diego Rivera lived the height of his career. Shortly after, the so-called Rupture began. Young artists such as Vlady, Cuevas, Felguérez, grew up in the gallery, also, meeting point of the Independent Hall in its beginnings. The Pecanins did not want to follow the footsteps of anyone, but to discover.

 

In 1972 they opened a gallery in the Gothic Quarter of Barcelona, ​​which was inaugurated with Rufino Tamayo. Then came Manuel Felguérez, Vicente Rojo, Jose Luis Cuevas, Chucho Reyes, Friedeberg and Garcia Ponce. In Barcelona they got along with the writers of the Latin American Boom who lived: García Márquez, Vargas Llosa, Carlos Fuentes.

 

Since they arrived in Mexico in 1950, they played a fundamental role in the diffusion of contemporary artists from both countries. In Mexico they were the first to show works by Miró, Tàpies, Guinovart, Amat, Ràfols Casamada or Viladecans. The three sisters had friendship with Luis Buñuel and sume wife Jeanne Rucard, with Luis Alcoriza, Arturo Ripstein and Paz Alicia Garciadiego, among many others filmmakers.

The Pecanins family lived the Spanish Civil War and saved the postwar period and the dictatorship. They left a gray country and entered the splendid Mexico of the fifties. Another world They integrated quickly, without losing their roots. Tere sent five years after marrying, Anna Maria had three marriages. Montse and English artist Brian Nissen met in the 60's and still live in the Countess Building.  

 

2009 was a black year for the Pecanins family. The twins died and Beba, daughter of Montse. In 2017 the Betsy went away.  

 

Four generations passionate about art and adventure.

Ventura Pons.

UNIVERS(O) PECANINS

STAFF

A production of ELS FILMS DE LA RAMBLA, S.A.

Director/ Productor:  VENTURA PONS

Guionist: ANABEL CAMPO VIDAL

Document: ANABEL CAMPO VIDAL I JAIME KURI

Mexican Productor:  JAIME KURI

Line Producer: MERCÈ CARREO

Photography:  ANDALU VIL-SAN-JUAN / TITO ARCAS/ RENÉ MORALES

Music:  JOAQUIM BADIA/ BETSY PECANINS/ ASTRID HADAD

Making:  JUAN CARLOS CARRANO

Sound: ALDO DOMINGO

Disegn : JOAN ESTRADÉ/ JAVIER PEIROT NEGRETE FILMS

 

© 2017 ELS FILMS DE LA RAMBLA, S.A.

D.L. B 17505 -2017

 
 
UNIVERS(O) PECANINS

CREW

FESTIVALS

Première Mundial FICG Guadalajara. México.
Guadalajara. México.
 
Cineteca CDMX. México.
Premio Enlace de Cine Latinoamericano. Barcelona.

OPINIONS

 

The Pecanins sisters, founders of the legendary gallery that carried their surname for forty-five years, make up a central chapter in the history of Mexican culture. Beyond having been prestigious gallery owners who promoted and promoted a multitude of Mexican and foreign artists, Montse and the twins Ana María and Tere built a creative, playful and endearing universe that flashed between 1964 and 2009, when death takes the twins four months apart. The fabulous story of these Catalan sisters who came to Mexico with their parents in 1950 and marked a milestone in the Mexican cultural environment is recreated in the splendid documentary titled Univers (o) Pecanins, which was presented at the National Cineteca. And the title is more than right, because the Freckles are the touchstone of a family line of artistic creators that today constitutes a universe that already reaches the third generation.

 

The documentary is a production by the Catalan director Ventura Pons in collaboration with the renowned Mexican documentary filmmaker Jaime Kuri, who a few years ago had already made a short film about the work of Montse Pecanins, entitled Teatrines y bataclanas. On this Kuri comments: "Although in my short there is a familiar semblance, Ventura wanted to collect a series of testimonies from both the family and personalities close to the circle of Freckles." Univers (o) Pecanins transports us to Mexico in the sixties and seventy, through the remembrances of some of the protagonists of those crazy years in which the gap was opened to contemporary art in our country, hand in hand with the boom in Latin American literature and the emergence of independent cinema.

 

For Univers (o) Pecanins, the writings of Laura Esquivel, Alberto Ruy Sánchez, Hernán Bravo Varela, Margarita de Orellana, singer Astrid Hadad, artists Manuel Felguérez, Brian Nissen, Frederic Amat, Antoni Miralda, Joan Pere Vildecans, the screenwriter Paz Alicia Garciadiego, the filmmaker Arturo Ripstein, the curator Pilar García, as well as the descendants of the family, stars that shine with their own light in the Univers (o) Pecanins: Betsy, the extraordinary singer and composer who died in 2016 ; Yani, visual artist; Marisa, art director; Walther, filmmaker; and the grandchildren that begin to flash: Matías, pianist, and Dylan, filmmaker.


 

The star that gives light and color to the story is Montse, the dean of the family that survives the sisters and their prematurely disappeared daughter, Beba, and who, with her grace, humor, panache and playful spirit, brings us the hand by the twists and turns of the family universe and throws us winks of that magical Mexico that he shared with the most relevant artists of the second half of the 20th century, including his life partner, the English painter and sculptor Brian Nissen.

 

The Pecanins sisters are the living example of the dedication and passion for art, nothing more distant from the metallic minds that nowadays operate the art market. His was, and with Montse still, art as an existential impulse: a life ruled by the love of art.

Germaine Gómez Haro

Artes Visuales

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