By Eugenio Amézquita Velasco
Translation: Metro News Mx
-Art in Comonfort transcends being a museum piece to become a tool for identity and social rescue in traditional neighborhoods.
-With the theme of Mexican dances, artists return the sacred and pre-Hispanic meaning of worship through movement to the walls.
-Civil society organization achieves what institutions often ignore: transforming the urban environment through the power of aesthetics.
-Muralism acts as a mechanism of appropriation, where inhabitants move from indifference to the active custody of their own visual heritage.
-The professionalization of young talent ensures that these interventions have a technical quality capable of attracting tourism and generating a local economy.
Art as Resistance: Rescuing Identity
The "Voces del Muro, Pasos del Pueblo" (Voices of the Wall, Steps of the People) Festival is not a simple aesthetic intervention on the facades of Comonfort; it is an act of cultural resistance and a reclamation of public space through symbolism. In a Mexico where modernity often blurs roots, this project uses muralism to return to the people their dances and pre-Hispanic faith.
The initiative, driven by civil society and led by artist Carolina García, goes beyond ornamentation. By intervening in historically forgotten neighborhoods like Los Remedios, art becomes a mirror where the community recognizes and dignifies itself. Painting the dance is not just illustrating a movement; it is capturing the oldest form of connection with the divinity and local identity.
This collective effort features the talent and vision of 47 artists who have decided to pour their technique into Comonfort’s walls. Among the participants are creators such as José Luis Perales, María Hernández, Beatriz Hernández, Ramón López, and Ricardo Vanegas. The visual richness of the project is also nourished by the creativity of Angelucho, Pamela Gámez, Adán Tellez, Celeste Flores Morales, and Art Hermes.
The visual narrative expands with the brushstrokes of Mariana Romero García, Israel Hernández Gómez, Alejandro Cortez, Jazmín Ivonne, Francisco Ibarra, and Andrés Copado. They are joined by Miguel Hernández, Andrés Spardaner, Alejandro García, Cikman, Alex Peña, and Adrián Verdi, who bring contemporary nuances to the traditional theme. The urban landscape is transformed under the hands of Santiago Belman, David Mota, Juan Manuel Tovar, Gerardo Laguna, José López, and Paola Rodríguez Bárcenas.
The commitment to the environment is also shared by Carlos Rojas, Dannae Montoya, Monserrat Ortiz Valle, Alejandro Rivera Vázquez, Colectivo Ly By Art, Everardo Pérez, and Lizette Maldonado. Finally, the cohesion of this project is consolidated with the work of Eduardo López, Josafat, Daniel Rico, Hugo Solís, Ricardo Olalde, Blanca Tapia, Luis Ángel Godínez, Miguel Galindo, the prominent visual artist from Orduña de Abajo, Leslie Karen Juárez Mota, Miguel Rosales, and Javier Zárate.
The social phenomenon is clear: when the environment is beautified with meaning, the community protects it. This festival proves that art is a tool for social organization capable of transforming asphalt and brick into a living heritage that breathes history.
Interview with Festival Coordinator, Carolina García
Eugenio Amézquita Velasco:
Well, I insist, we are in the season of painters; we are interviewing many painters this week and I have Carolina García on the line, an excellent painter and, as they would say back home, "well-schooled," a graduate of the University of Guanajuato with a degree in Fine Arts. I believe that is the name of the major, if I remember correctly, Carolina, is that right?
Carolina García:
Yes, hello, good evening. Yes, it’s Visual Arts.
Eugenio Amézquita:
Visual Arts. And well, in November (2025), I believe during those months, the Festival of Birds took place—which isn't about ornithology, no, it’s about painting—and it precisely came to beautify a community in Comonfort. Now, given the very good and positive results seen in Comonfort, you are preparing a second festival. I’ll let Carolina tell us about it because I think it will be something very beautiful, very much ours, very Mexican, and from our original roots. Thank you, Caro, tell us about it.
Carolina García:
Thank you, good evening. Well, the festival we have planned is called "Voces del Muro, Pasos del Pueblo," with the theme of Mexican dances, specifically those representing Comonfort in the Los Remedios neighborhood.
Eugenio Amézquita Velasco:
For our audience, and as a cultural fact I found along the way: going back to pre-Hispanic times, dances were the way indigenous people worshipped the divinity. It wasn't simply dancing for the sake of dancing. No, it carried a deep religious meaning. And Comonfort certainly has deep religious roots. Through dance—I know there are about ten, twelve, or thirteen traditional dances there—they manifest to Our Lady of Remedies, who is practically the patron saint of Comonfort, that love and veneration for the Mother of God. I believe that is where the theme is headed, Caro, right?
Carolina García:
Yes, of course. Exactly, the idea of the dances arose precisely because of the neighborhood we are going to rescue now.
Eugenio Amézquita:
According to the information I have, in the last Festival of Birds, there were maybe twenty or more painters from different disciplines, but all painters in the end. And obviously, the photos we will share with the public through Metro News and Guanajuato Desconocido will show the beauty of what the young artists were doing there. In this occasion, I don't know if the invitation or the call for artists will be broader, Caro.
Carolina García:
Yes, of course. We are calling on artists from the municipality and surrounding areas who want to join this project. They are, of course, welcome. We are already more than thirty artists at the moment, so we hope to be at least around fifty.
Eugenio Amézquita:
Just look at that, an entire army of artists beautifying. Speaking with one of the participants, they shared their experience: the Festival of Birds was such a success that people would come up and say, "paint my house too." We weren't talking about house painting in the basic sense, no; it was "come and beautify my house with what you bring." Were there these kinds of reactions from the inhabitants of the community you intervened in, Caro?
Carolina García:
Yes, absolutely. There were those who at first naturally said, "no, not right now, thank you very much." Perhaps they thought of something completely different from what was achieved, but as we went along, they said, "hey, actually yes, please paint my house." We have had very good comments about it. I think this neighborhood we are going to now is a neighbor of the other one, and we haven't abandoned La Rinconada either; we still have projects there, for example, the rescue of its cultural forum, which is beautiful if you've visited it, but it’s abandoned. So, we want to do something for them and rescue it through painting with the intervention of different artists as well.
Eugenio Amézquita Velasco:
I want to tell the public and Caro—just a reminder—that Guanajuato Desconocido and Metro News are sponsors in the dissemination of these events. For us, this truly means a commitment to join the cultural work that Caro and the team behind all this are doing. To join in as we have done with Lupita Leal, with Karen Leslie from Orduña de Abajo, and with many, many artists from Comonfort. The idea of this sponsorship regarding dissemination is precisely so that people are aware and realize that what they are doing is the work of serious artists.
First, they are professional artists; there might be young artists, but they do it in a very professional, serious way, with the specific feeling an artist must have. We’ve already talked about our sponsorship, Caro, but I want to take this moment to reiterate it. We also become protectors of this work so that the people themselves know that what they have there in their houses is a treasure, because that’s how I see it. I don't know, Caro, what can you say about this?
Carolina García:
Yes, clearly. I think they take ownership of the works and, furthermore, they create their own identity, don't they?
Eugenio Amézquita:
Well, yes, of course. And within this—honestly, sometimes one is left speechless—but within this call for these fifty possible painters, you spoke about the region; it’s clear to me that artists from here in Celaya went to join this army of artists. I think this will be drawing attention, but what strikes me as most significant is that this is driven by civil society. This is not a government act—I don't want to detract from the authorities either—but it is civil society rescuing spaces for civil society itself, and civil society also cooperates so these things can happen. I think that gives it a flavor of freedom, a flavor of wanting to do things right, not only from the artists but also from the communities. I don't know if you agree with this concept I’m sharing, Caro.
Carolina García:
Yes, of course. And the response from the people is so rich and positive that many more people and companies have been joining in. And of course, we have also had calls from the municipal authorities who want to approach us and see how they can support us. That also adds up, and it’s great because, in the end, it means we are doing things well, as you mentioned.
Eugenio Amézquita Velasco:
Of course. Although you will agree with me that we are in times where people, in one way or another, want to show that society itself can do what perhaps other instances cannot. I think sometimes the hardest part is social organization, and here, let’s say, organizing the people—and you have achieved it without the need for strange noises or odd promises. Simply art, aesthetic pleasure, moving that artistic heart that every citizen has inside in different ways. And I think that is what has awakened. People saying "yes, after all" because they realize what you are doing is beautifying. It’s not just painting for the sake of painting; it’s truly bringing beauty to the walls of Comonfort. Am I on the right track, Caro?
Carolina García:
No, it’s all good. Yes, of course, that is the idea. Precisely the rescue of these neighborhoods that are, in quotes, "abandoned." And what better way to do it than by involving society and bringing art to the community.
Eugenio Amézquita Velasco:
Someone told me —a non-civil authority— that when people see their environment is beautiful and clean, they take care of it. When you see something neglected, it’s as if people even collaborate to make it look more neglected. But when it’s the other way around, when the environment is cared for and beautified, the people themselves take care that it isn't destroyed. I believe that in Rinconada and these places where you intend to intervene artistically, that is the final message left for the people: "Take care of what we have just done; protect it."
Carolina García:
Yes, that’s right. And several neighborhoods have already approached us; following this one, we have San Agustín, La Palma, and these larger neighborhoods here in Comonfort. But of course, we are also thinking about Escobedo and others; we have the year booked.
Eugenio Amézquita:
That’s great. I think it’s very important for the public as well—I don't know the strategy you are following—but I’ve said it more than once: the artist lives off their art. So, we must think about that too. I am saying this, not you; I’m saying it because what you are doing is a great effort, but we should also look at the fact that an artist needs to live through their art. At some point, if you see they are doing good things, look for a way—I’ll say it plainly—to give them contracts. Hire them to beautify your spaces. You have the possibility to do so; hire them because they are artists and they live off their art. Michelangelo didn't paint the Sistine Chapel for free; he charged, and I believe he charged very well, and even though it was for the Church, he ultimately received payment for his work. So, understanding that sensitivity is needed, because sometimes we mistakenly believe the artist works for free, and I don’t think it works that way, right Caro?
Carolina García:
No, of course not. I am sure that this effort, as you mention, will bear fruit, stimulating the people and stimulating patrons to provide spaces for artists so they can also live off their own art.
Eugenio Amézquita:
Anything else you’d like to add, Caro?
Carolina García:
No, I thank you very much, Eugenio, truly.
Eugenio Amézquita:
And we will be sharing the English version of this interview with our friends in the American Union so it reaches them. At some point, our friends living in the United States, who I know also support this type of work, may become patrons so that the work of Comonfort artists can expand even further within Comonfort. Thank you very much, Caro.
Carolina García:
Thank you so much.
Eugenio Amézquita:
We continue. I am Eugenio Amézquita in this interview with the leading lady of painting in Comonfort, Caro García, through Guanajuato Desconocido and Metro News.#MetroNewsMx #GuanajuatoDesconocido
