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- W2034141568 abstract "‘There is no such thing as a harmless remedy. The pharmakon can never be simply beneficial.’ Jacques Derrida1 The colourful, if not altogether reliable, testimony of Diego Rivera's ghost-written autobiography describes the execution of two murals on the subject of the history of cardiology (Figs 1 and 2).2 Consisting of vertical panels 6 by 4 metres in size, they were painted in true fresco on movable frames as decorations for the Instituto Nacional de Cardiología in México City. Rivera states he worked on them at the end of each day after resuming work on the exponentially larger and better-known murals for the National Palace. Painted, as far as can be ascertained, without the help of assistants, which was his more usual practice, the murals are a tribute to his gargantuan energies as well as his bravura talents as an artist. The first panel was completed in December 1943 and the second in time for the inauguration of the new Institute in April 1944, where they stood resplendent in the main foyer. Assembling an illustrious pantheon of forebears for the newly constellated specialty of cardiology, the frescoes complemented the emphatic modernity of the Institute building (Fig. 3), designed in a Bauhaus functionalist style, that housed them. Both possess impressive ‘display value’ serving to enhance the prestige of Mexican cardiology and of the modernising nation state that financed them. In a country with a population in excess of 100 million people, to have a single, no expenses spared hospital for heart diseases underlines the symbolic as much as practical importance of modern medicine in the nation-building project." @default.
- W2034141568 created "2016-06-24" @default.
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- W2034141568 date "2007-07-27" @default.
- W2034141568 modified "2023-09-25" @default.
- W2034141568 title "Remedy or Poison? Diego Rivera, Medicine and Technology" @default.
- W2034141568 doi "https://doi.org/10.1093/oxartj/kcm022" @default.
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