Drawing designers and creatives alike, a new intimate bar illuminates Mexico City
by Carissa Wodehouse Though Mexico City is known for its size, a growing local creative class and influx of world travelers are carving out first-rate gathering spots in its nooks and crannies. Jules Basement, a speakeasy tucked under an unassuming taco restaurant in the high-end Polanco neighborhood, feels like an…
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Inside the new boutique hotel in NYC’s arts district
From the airy architecture of seaside retreat Basico to Distrito Capital’s urban focus, Mexico-based hotel group Habita has already made a name for itself for how it introduces high-design without disrupting surroundings. Opening today, 6 September 2011, Hôtel Americano, their first U.S. property, brings this elegantly light touch to New York City. The 56-room hotel both blends well into the scale of its “Way West Chelsea” neighborhood and firmly stakes a claim to its future. Designed for locals as well as out-of-towners, the destination offers a rooftop cafe and pool, basement bars and a street-level cafe in a section of NYC’s gallery district that has been one of the last to transform from its industrial past.
Like when the Ace Hotel opened to the East (as well as Habita’s property in Mexico City’s Condesa neighborhood), Americano’s arrival signals a new beginning for the area. With the elevated outdoor park, the High Line, opening nearby and a newly-constructed condo across the street, the new growth promises to reinvigorate an area formerly home to literally one restaurant and generally lacking housing and retail. And just how did the developers manage to balance the needs of the neighborhood with their ambitious new property? Let’s start with the building itself.
The work of Mexican architect Enrique Norten, a metal mesh-clad exterior creates a clean and striking facade whose clean lines integrates well with neighboring warehouse spaces while lending contemporary shine. By offsetting this facade from the windows, the size of the rooms inside feel a bit bigger—a welcomed detail for the more petite rooms on that side of the hotel. Across the hall, the larger accommodations feature a sitting area, fire places and bigger bathrooms. All rooms (designed by Arnaud Montigny) house wooden platform beds inspired by Japanese ryokans; beautiful wood cubes hold the beds in the bigger spaces.
For those who aren’t staying at the hotel, the Americano has a separate entrance so neighborhood visitors don’t compromise the experience for guests. A cafe near the front door provides Intellegentsia coffee (its first NYC outpost) and fresh-squeezed juices. Just behind the cafe, a restaurant will serve three meals a day indoors and on the back terrace.
On the roof, also open to the public and accessible via a separate elevator so as to not annoy hotel guests, La Piscine bar and grill will feature not only a seasonal menu but also seasonal decor—open and airy in the summer, glass-enclosed warmth in the winter.
Below the lobby, Bar Americano—a concrete tube of a bar, feels like a chic, modern subway station. Behind this space is El Privado, a small, warm living room with a bar that feels more like a kitchen, which as the name suggests is reserved for private functions.
A welcomed addition to our neighborhood, Hôtel Americano is now open for hotel guests and cafe customers. The additional spaces are set to open in late September or early October.
Our video on two fluidly abstract installations at Mexico City’s biggest art fair
When we visited the Zona Maco art fair in Mexico City earlier this year, we saw a wide variety of media and styles—check out our first piece on Martin Creed here. This second video from our trip there explores some of the more abstract pieces we came across. “Sin Titulo, (homenaje a Yoko Ono)” (2010) by Luis Carrera-Maul and Roberto de Pol’s “hair-dryer, glass, straws, electrical cables, nails, coke, sensor, wood, adesive tape, tubes, screws” (2010) (seen at Galleria Massimo Audiello Oaxaca and Perugi Artecontemporanea respectively) struck us for their interesting use of liquid and movement. Both artists use kinetic fluid substances combined with other unconventional materials to create living, evolving sculptures—though each to quite different aesthetic effect.
Our video on conceptual artist Rirkrit Tiravanija and his newest video project
Rirkrit Tiravanija has continuously proven himself to be at the forefront of modern conceptual art. Extremely social in nature, Tiravanija’s exhibitions range from feeding gallery-goers to recording footage of a road trip and displaying it, along with the car that made the journey, for everyone to see. In this video, Cool Hunting talks to the artist about his current project as part of Absolut’s 365 Days initiative in Mexico and the culture’s attitudes towards art.
Checking in with the star of Mexico’s hit narco-comedy
The New Mexican Cinema movement may have calmed to a simmer in recent years, but the country’s presence on the international film scene is here to stay. At Los Angeles’ recent Hola México Festival, festival-goers were treated to a secret midnight screening of “Salvando al Soldado Pérez” (Private Pérez). The film follows Julian Pérez—surrounded by hired thugs, killers, and accomplices—on his quest to find his brother in Iraq at his mother’s request. Leaving the boisterous audience laughing, gasping and clapping throughout, when lead actor Miguel Rodarte joined director Beto Gomez on stage after the showing, the crowd roared in applause.
Currently one of the most popular films in Mexico, already more than two million have seen the slapstick adventure. Acting as a crime lord from Sinaloa, Rodarte struts though the film in a flashy wardrobe of unbuttoned silky shirts, massive gold necklaces and giant hats. Along with his motley crew of compadres, their epic journey both celebrates and pokes fun at various aspects of Mexican culture.
I first met Rodarte at a Kahlua-sponsored dinner in Mexico City at Casa Luis Barragan along with a small group of gallery owners, designers, musicians and actors who had gathered at the Pritzker prize-winning architect’s house (now a museum) to share cocktails and a candlelit dinner prepared by one of the chefs from Pujol. In the midst of this animated group, Rodarte charmed everyone in the room with his infectious laugh, charismatic smile and hilarious stories about making movies and all-night parties. With the release of his latest film, we decided it was time to sit down with with the charming actor to find out more about the making of the film, his audacious wardrobe and the reaction of the audiences in Sinaloa.
Julian Pérez has to be the most powerful character I’ve ever played. Interpreting a cartel boss is not that simple. There is not a lot of public information about their lives, but there is some. I found books and in-depth research articles. I read about the history of mafia in Mexico and leaders throughout different periods of time. I listened to a lot of “narcocorrido” music, which is folk music that tells stories about bandits, drug lords tales, passionate stories and mafia adventures. I took a look at as many pictures of mafia leaders as possible, to examine their lives.
I went on some social blogs that specialized in narco-culture and try to find as much information as possible. I discovered the universe in which Julian Perez was involved. For me it has the power of a Shakespearean play. Surrounded by betrayal, ambition and violence, they are always worried that someone is trying to take over their reign. They are never at peace. I also took a look at other mafia film icons (The Godfather, Scarface, Goodfellas, etc.) to try to grasp aspects of their spirit that would fit my character, but without wanting to imitate any of them. The rest was pure imagination.
What? Are you kidding? Of course I have. They are hilarious. It is really amazing what costume designer Marylin Fitoussi did. There was a time in Mexico’s underground mafia world when exotic prints and the exaggerated bling were iconic. I am from Sinaloa and I grew up there seeing a lot of people dressing in that style. Of course, nothing like Julian Pérez, he would always be king. If you are not acquainted with the culture you could think is a little bit exaggerated, but it is not. We tried to portray a drug lord prince from the North of Mexico. I also have the jewels with the initials all over and the magnificent cowboy hat. The slogan for the film says, “They may loose their lives, but not their style.”
It’s amazing how the people from the state of Sinaloa have responded to the film. They went crazy over it. The cinemas were completely crowded and there was quite a furor. Families went to see it all together. This for me is an indicator that the people felt reflected in the sense of humor and the mood of the film. Sinaloa might well be the Mexican Sicily. The people there have an attitude about life where they feel that anything is possible. It is not a submissive culture. I am from Sinaloa myself and I can tell you that the movie portrays the qualities of loyalties, courage, strength, humor and achievement that characterize the people from there.
On 2 June 2011 “Salvado al Soldado Perez” will open the Hola México Festival New York at Tribeca Cinemas before hitting U.S. theaters this September 2011.
Our latest video looks at a conceptual artist’s meditation on gray
On a recent trip to Mexico City we had the chance to stop by the Zona Maco Art Fair to check out what’s happening south of the border. We explored some great galleries, saw some fantastic work, and one piece that jumped out immediately was by London-based artist Martin Creed called “Untitled” from 2010. We had a chance to discuss it with one of the gallery reps at Hauser and Wirth to get some insight on the scope of the work, as well as the importance of having a presence in the Southern Hemisphere. Check out the video and look out for more from our experience at Zona Maco and Mexico soon.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
