To mark the 75th Anniversary of the first appearance of Batman in “Detective Comics” back in 1939, Warner Brothers and MUMEDI, the Design Museum of Mexico, co-sponsored an exhibition inviting artists to submit their own, customized versions of the Dark Knight’s signature bat-eared cowl and cape. The resulting show opened recently at MUMEDI, and showcases a wealth of talent and creativity. Using the same maquette, each artist focused on different aspects of Batman’s personality, backstory, and so forth, creating some truly unique designs.
You can see photos and a video featuring many of the exhibition entries by following this link. There are a number of terrific ones, but my favorite has to be this absolutely amazing, intricate version by artist Christian Pacheco (Kimbal) which you can see here. If you love archaeology and art history as much as I do, you’ll immediately appreciate why I was drawn to this piece.
The artist used one of the ancient Maya gods, Camazotz, as his inspiration, and appropriately so. For in Mayan mythology Camazotz was, in fact, a “Bat-Man” – i.e., an anthropomorphic bat, who ruled the night. Unlike Batman from the comics, Camazotz was a monster, and liked to rip people’s heads off, but then again Bruce Wayne when he’s angry is apt to do the same thing, so perhaps there’s a further analogy to be made.
More importantly, the look of the thing is just brilliant. If you have ever seen works of pre-Columbian sculpture, you’ll recognize that the techniques and principles Kimbal used in his work are referencing ancient works which, while originally brightly painted, have faded somewhat over time and from being buried for centuries. The laying on of thicker, almost extruded layers of clay to build up the design on the armor gives an even greater, weightier presence to the superhero. Kimbal has clearly done his homework, and looked at a lot of the archaeology and art history of his country to get this just right.
Even if you knew nothing about Batman from the comic books, and saw this piece displayed at a museum with a substantial collection of early sculpture from the Americas, such as Dumbarton Oaks here in D.C., I daresay you would not find it the least out of place. The fact that the artist made the connection between the artistic past and the pop culture present, is exactly the sort of bridge-building I like to see. It opens up the viewer to exploring new ideas and areas of learning, which they might never have been aware of otherwise.
The exhibition runs from now until October 8th at MUMEDI in Mexico City.