By Eugenio Amézquita Velasco
Translation: Eugenio Amézquita Velasco
-German painter Lothar Müller contrasts Celaya's cultural authenticity with San Miguel’s tourist and social focus.
-Through his work "La Dulzura" (The Sweetness), the artist elevates everyday urban elements like gas stations into pieces of high visual expression.
-Müller highlights the role of university youth in Celaya as the new engine of an artistic movement with a global vision.
-Civil society and young people lead independent cultural projects, far from government structures and budgets.
-The artist notes that, despite economic and security challenges, Celaya possesses artistic talent with unusual depth.
-The intellectual curiosity of the new generations allows art in the region to transcend the local and achieve a global impact.
Lothar Müller: Authenticity vs. Artifice
German artist Lothar Müller, now based in the Bajío region, offers a revealing perspective on the evolution of the regional cultural ecosystem. His move from San Miguel de Allende to Celaya is not just a change of zip code, but a transition toward the search for an aesthetic truth less contaminated by the market. Through his exhibition "La Dulzura," Müller uses everyday elements such as gas stations or convenience stores to elevate the mundane to the status of art, proving that inspiration does not reside in the exotic, but in the profound observation of the immediate environment.
This creative migration underlines a fascinating dichotomy: while San Miguel solidifies itself as a center of cultural consumption for international tourism, Celaya emerges as a nucleus of authentic artistic resistance. For Müller, the warmth and curiosity of Celaya's youth represent fertile ground where art is not a social accessory, but a vital necessity. The mention of the Celaya Experimental Film Fest and the integration of new technologies by young people confirm that we are facing a generational shift that handles a global language from a local trench, transforming the perception of a city seeking to heal its social fabric through "underground" culture.
Interview of Lothar Müller with journalist Eugenio Amézquita Velasco
Eugenio Amézquita Velasco:
Well, well, I have another great painter friend on the line now. Today has been a day for interviewing painters. Lothar Müller, Herr Müller—I call him that—Herr Lothar. A good friend, a very good painter with a lot of experience, many years as a gallerist. And now, Lothar, are you currently exhibiting at the Institute that is now a museum, which has been transformed into a museum? Or rather, it is like a commercial gallery, but it's located within the Instituto Allende. That is separate, right? And tell me about this collection of works of yours that you are presenting there. How did you get there? How did this connection happen? How many days will you be there? And obviously, I want to think, as the good artist you are—because artists live off their work—obviously, it's for sale. I assume for anyone. Yes, yes, yes. What can you tell me about this exhibition? Thank you, Lothar.
Lothar Müller:
Yes, thank you, Eugenio. This exhibition I first presented here in Celaya, at the House of Culture, a solo exhibition, and they are the last paintings I did in San Miguel and the first ones I developed here in Celaya. And obviously, it was a lot of back and forth. I brought my things little by little and I was inspired along the way, by things like urban landscapes. There are also two gas stations and I was fascinated by the colors. They also appear in two paintings like the Oxxo, which are the primary colors: red, yellow, and the blue sky that is very strong in Mexico, right? And the skies. This was the inspiration—the landscapes and also getting to know Celaya as a landscape, like the mountains on the way. I have dogs and I always take them to run near the river, and there you enjoy the landscape. I go every Sunday. And if you go every Sunday for a year, you know, you see the seasons. That was the inspiration.
Eugenio Amézquita Velasco:
Well, Lothar Müller, you can hear his accent. It’s not—as we Mexicans say—it's not "gringo." He is German, born in Cologne, right? In Cologne.
Lothar Müller:
Yes, yes, I was born in Cologne, Germany. Aha.
Eugenio Amézquita Velasco:
Okay. These paintings, how many paintings are you exhibiting? For how long?
Lothar Müller:
From the series, there are about twenty-two, but only fifteen are on display. The gallery has some in storage too. Ah, okay.
Eugenio Amézquita Velasco:
Okay. And who is handling the curation of your work, the care of it?
Lothar Müller:
Yes, it’s Sofía Rivas. She has two spaces in San Miguel, a museum in Solar and the Trapo gallery. I have exhibited with them before too, and I invited her to do the curation because her family lives in Celaya, and originally the exhibition was for Celaya, right? And this worked for me. I published a catalog that turned out well. Diego Torres took the photos and I realized that with very good photos you can make a good catalog. And because of this catalog, I even made some sales to clients in León, and I also secured through this catalog the exhibition there in San Miguel, at the Yam Gallery, which is the only gallery that goes, for example, to the Maco fair. They are going to participate in February in Mexico City at the Maco fair. They are not going to take my works, but they are going to take artists who were previously in my gallery, Choice.
Eugenio Amézquita Velasco:
Okay, okay. I remember—I think you were the one who made this comment to me that I found very interesting—that you had a vision of what art is, what traditions and customs are in San Miguel de Allende where you used to live, and now that you live in Celaya. And I think you told me: it’s that Celaya is more natural, Celaya has something... what we see is what it is, unlike San Miguel where it seems they are looking for something just to see how they can attract you and it's no longer very natural. I don't know if you could talk to me about this aspect I'm mentioning.
Lothar Müller:
Yes, it's as if San Miguel is more touristy. They even have advertising agencies in the United States—that is more their audience. And for me, Celaya is more authentic. I already feel more like I live in Mexico than in San Miguel, which is like a subculture. There are many foreigners, not only Americans; I think people from more than sixty countries live there. And here in Celaya, since living here, I am also more interested in the history of Mexico and the whole Independence. Obviously, Celaya played a very important role. I notice that much more here in Celaya than in San Miguel. And also the people—I like the people here in Celaya very much, they are very warm, extremely warm. And in San Miguel people say: "Oh, you're going to Celaya," because people are afraid of Celaya. You know what was happening here a few years ago and it continues a bit. That is also noticed in Celaya. Here culture is also more "underground." People truly have an interest in culture. In San Miguel, many go as if to social events; they show off their new clothes and look for their friends, they drink their cocktail. But here it's more like people are truly interested in culture. Like poetry too, there are very good poets here who are now rappers, graffiti artists. More like this popular culture, but from a younger generation, like the graffiti artists.
Eugenio Amézquita Velasco:
Speaking of young people, as we mentioned because it already happened, you had the fortune of being at the fifth edition of the Celaya Experimental Film Fest. But the part that interests me—since we’ve already talked a lot about that in our media, in our space—is that you were spending a lot of time with young people, and that's what I've been emphasizing in the news: we are talking about university students, young people of another level, who are from Celaya and live here. What impression did these young people who participate in these cultural events give you? What did it leave you with? What do you see, Lothar?
Lothar Müller:
Not much, obviously it's another generation, it's not mine. But, for example, we talked about Cindy Sherman. Again, there is interest in this, like this culture. Before it was retro, now it's vintage, which is also my vibe now. And here there are several places like "underground"—for lack of a better word—that were also venues for the festival, like Casual, María Almacén. All of these are here in the center and they bring this audience that is well-educated because there are many universities here; people don't realize it. And I even know young people here who speak German, for example—you don't expect it.
Eugenio Amézquita Velasco:
No, no, no. Well, I realize—I'm going to do the big commercial now—I know that the University of Celaya, among the languages they teach their students, is precisely German. And I think that's why you found more than one person speaking German. But I remember that since last year, at the fourth festival where I located and interviewed you, I think since then you yourself were seeing—and that was as we were coming out of the pandemic—a large number of university students with a very different mentality, very, very different from those who at some point—I'll say myself as a dad or grandpa, I put myself in that category—perhaps have a vision that we don't have, that we can't see what they are seeing. I think you are seeing something of that, right?
Lothar Müller:
Yes, exactly. They are connected through the media, the internet—during the pandemic even more so. It's another view of the world, more global. It’s not so "local-traditional" where you think you come from outside. And yes, it already made an impact. People already know, today you can look up anything on the internet. A young person has a lot of curiosity and can learn many things.
Eugenio Amézquita Velasco:
Well, and finally, so as not to take up too much of your time and not make a very long interview—though it doesn't bother me, but so our audience can enjoy it well—what other plans does Müller have for the future? Obviously, this year is ending. You will have this exhibition, "La Dulzura," which you are presenting in San Miguel and ends in March, you told me?
Lothar Müller:
Yes, March. Aha. And I have no plans, that’s the good thing. I like to have... I achieved quite a few things. This year had some obstacles too, you know, with the current economic crisis. But I managed to solve them. I had money in a bank that had to close and those things also happen. And the situation in the United States worries me a lot too because it affects us indirectly. So I have no plans, but I saw many opportunities, a lot of interest too—also my exhibition in San Miguel, the public was very interested in my work. And I think from this more things can grow, from the festival and also from performance. I think it will bear more fruit next year. From the efforts too.
Eugenio Amézquita Velasco:
I’m seeing it too because, honestly, those behind it who are very young organizers—younger than you and me—they have a vision that truly left me impressed. I mean, I’m not an expert on film matters, but when I realize there were five hundred short film participants, of which they selected thirty, and those thirty were from seventeen countries, I said: "Wow, how did they do it?" But the young people and the new technology, you know, they handle it to the max; they get incredible things out of it. I believe that with that creativity they are ultimately artists themselves, many of them, but I think they are going to give us pleasant surprises next year, my dear Lothar. And I think we are going to see you around here. I’m sure we’re going to see you around here.
Lothar Müller:
Perfect, thank you very much. Yes, I feel the same way. The cultural movement here in Celaya is just beginning. It has a lot of talent. That’s truly incredible.
Eugenio Amézquita Velasco:
I believe it, and I think the most important thing is that it is a cultural movement that comes from the young people and it’s civil society—it’s not a government thing. It's the young people themselves. Civil society has a lot of desire, a lot of curiosity. They don't do it for fame or to make a lot of money; they truly do it from the heart. And that gives it that flavor that art truly should have—natural, as you yourself said.
Lothar Müller:
Exactly. And that is for future generations too, so it’s not only for the moment.
Eugenio Amézquita Velasco:
Lothar, I want to thank you for the interview; it's not the first or the last time. I thank you for allowing me to cover your events and activities. The truth is that I enjoyed it very much and learned a lot too because I had to investigate a bit more. I'm no expert in photoperformance, but we're talking about the 50s and 60s, and the truth is that... yes. Thank you very much.
Lothar Müller:
Thank you very much, and it shows that you also do research, which is also very important, it gives it a certain cultural depth.
Eugenio Amézquita Velasco:
I thank you very much for that too. I am the one who is grateful for your friendship and also the opportunity to interview you. Thank you, Lothar.
Lothar Müller:
Thank you very much, Eugenio.
Eugenio Amézquita Velasco:
I am Eugenio Amézquita. This is Guanajuato Desconocido and Metro News with my great friend Herr Lothar Müller. Thank you very much.
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