The Old Hospice of Santo Tomás de Villanueva is the iconic building in the Historic Center that houses the Kaluz Museum. With a privileged location on the corner of Reforma and Hidalgo, the Kaluz Museum is a gateway to the Historic Center and Colonia Guerrero, in Mexico City.
The Kaluz Museum offers the public a multi-thematic exhibition program where each exhibition will create a dialogue between works of art from different times and contexts towards a historical and social reflection. The basis of these exhibitions is the dialogue between the works that make up the collection of Mexican art from the 18th to the 21st centuries of the Kaluz Collection.
The museum’s curatorial program is the center around which all other activities revolve. Looking in this way to integrate conferences, urban tours, culinary experiences and mediation activities around the central theme of each exhibition.
The Kaluz Collection is the result of the work of a single collector, Mr. Antonio del Valle Ruiz, who has had the purpose of sharing and socializing it with a triple objective: To contribute to the recovery and conservation of the Mexican artistic heritage; detonate their knowledge through the study, dissemination of works and authors; and strengthen the feeling of own identity through demonstrations close to the realities of the country and its plastic imaginary.
The collection has always remained faithful to the collector’s tastes for Mexican plastic figuration, proceeding with absolute freedom to bring together works from different periods, styles and currents. However, the representations themselves, in their subject matter, also respond to the great concerns of the figurative painters of yesterday and today, and for this reason four major genres can be identified in the group: landscape, still life, portraiture and custom painting. These themes speak, after all, of what is ours: our environment, our things, our people, and our traditions.
The Kaluz Collection proposes to add value to the current artistic scene from the collective – and therefore representative – condition of their works, while at the same time claiming the talent of numerous painters. Authors such as Francisco Romano Guillemín, Armando García Núñez or Guillermo Gómez Mayorga, to mention just a few of them, acquire a new light alongside figures such as Joaquín Clausell, Roberto Montenegro, or Jorge González Camarena.
In addition to this, all these painters from the past maintain, in the specific area of the Kaluz Collection, a fascinating dialogue with current creators who progressively gain weight within the group, establishing in the same space a connection between different times through a common thread which is the painting itself.
And thus, the nineteenth-century gaze of Pietro Gualdi in his urban views converges, one hundred years later, with that of Pedro Galarza, or with that of José Castro Leñero contemporary. The Kaluz Collection invites us to reflect on the history of Mexican art, but also on the individual stories of those who have starred in it in its historical evolution: the creators and their creations.
In short, it is a question of seeking in the contemplation of all these works the possibility that the best of the human condition may emerge in us.