TEHRAN – A photo exhibition, showcasing the works of the late Mexican photographer Mariana Yampolski, was launched at the Museum of Fine Arts at the Sa'dabad Cultural and Historical Complex in Tehran on Tuesday in the presence of the Ambassador of Mexico in the Islamic Republic of Iran, Guillermo Puente Ordorica. 

Organized by the Embassy of Mexico in Iran, the exhibition shows the daily life of people who live primarily in rural areas of Mexico. The work of Mariana Yampolski presents anthropological perspectives that highlight the links between the individual and social life in various rural populations in Mexico.

In his opening remarks, the ambassador said: “The photographs presented in this exhibition reflect the diversity of cultural acts and productions resulting from everyday life, ritual and festive life, childhood development, the relationship between human beings and nature, work, and the contemplation of the landscape, revealing the different ways in which people experience and give meaning to the environments in which they live. They show us how life is in Mexico, and they also make us reflect on the fact that the life experiences of Iranians are like ours. We do have more things in common than we would think at first glance”.

“We hope that through this exhibition, you will discover more and travel to the traditions of the working, rural, or indigenous populations of Mexico, which have a fundamental value for our society,” he added.

Mariana Yampolsky (1925-2002) was a Mexican-American photographer. A significant figure in 20th-century Mexican photography, she specialized in capturing photos of common people in everyday situations in the rural areas of the country.

She was born in the United States, but came to Mexico to study art and never left, becoming a Mexican citizen in 1958. Her career in photography began as a sideline to document travels and work in the arts and politics, but she began showing her photography in the 1960s. From then until her death in 2002, her work was exhibited internationally, receiving awards and other recognition both during her lifetime and posthumously.

Her work shows anthropological perspectives that highlight the links between the body and social life in various rural populations of Mexico.

Projecting her gaze, Yampolsky shares with the visitors scenes typical of social realism, amid a multicultural framework that invites us to access memory, promoting reflection and recognition of the varied cultural identities that are manifested in the Mexican territory, which is why her photographs have become an important documentary reference with historiographic value in Mexico.

Her visual metaphors on social or natural themes explore other meanings hidden in the literal images or play with composition to promote unusual, sensitive experiences.

Mariana Yampolsky's work alludes to local cultural creations and how they represent environments and realities through allegorical, playful, or disobedient ways that postulate strange vital inquiries that open horizons for the visitors.

Her work can be found in 15 monographic books and in numerous public and private collections in the world, including those of the Museo de Arte Moderno, Centro Cultural de Arte Contemporáneo, The Museum of Modern Art (MoMA) in New York, the San Francisco Museum of Modern Art, and the Fototeca Nacional of INAH in Pachuca. It has been exhibited in over 50 one-woman exhibitions and approximately 150 group exhibitions internationally, in countries such as the United States, Great Britain, Switzerland, and Italy.

As part of her focus on rural life, an important aspect of her work was the promotion of Mexican handcrafts and folk art, of which she amassed a collection of over 3,000 pieces over her lifetime and was featured in some of her work.

Speaking to the Tehran Times, the Ambassador of Mexico Guillermo Puente Ordorica shared his insights about the significance of Yampolsky's work, which can attract the Iranian audience.

“She was born in the U.S., and then she went to study in Mexico. There she fell in love with that country. That love was rooted in its people, its culture, and especially in its ancient civilizations. From that point, she began to develop what I believe became the most important part of her artistic journey,” he noted.

The ambassador added that for many artists, including those from Iran, there are unexpected but strong cultural commonalities with Mexico, and that connection is often rooted in shared emotional experiences.

“One of the most remarkable aspects of her work was how she photographed real people — those who carry within them the legacy of ancient civilizations. She had the ability to capture simple, everyday moments that reflected not just beauty or aesthetics, but cultural depth. Her subjects were often in natural, unembellished environments, which made her work even more profound,” Ordorica underlined.

When asked about her influence on future generations, the ambassador noted her lasting legacy. “She became a renowned artist and made the personal decision to become a Mexican citizen, a symbolic act that shows how deeply connected she felt to the country. She didn’t just create art, she developed her own style, her own school, and influenced generations of Mexican photographers,” he stressed.

Recalling a recent cultural initiative, he said: “Two years ago, we invited a Mexican photographer to Iran. His work reflects the same artistic values, capturing the essence of a person in their environment, the moment in nature.”

Looking ahead, the ambassador expressed a strong desire to expand these cultural exchanges and said: “We definitely hope to bring more Mexican artists to Iran, not just as visitors, but to perform, collaborate, and engage with Iranian artists. This kind of cross-cultural dialogue enriches both sides. We just need the right environment to make it happen, and we remain optimistic about that”. 

The ambassador was also genuinely moved by his visit to the Museum of Fine Arts at the Sa'dabad Cultural and Historical Complex.

“I was very impressed. Even if some of the pieces aren’t considered masterpieces, seeing the works of such important artists is always inspiring. But what struck me most was the sense of history, what Iran was like 100 or 200 years ago,” he expressed.

Ordorica found parallels with European and even Mexican artistic heritage, but noted that Iranian historical documentation had a distinctive character.

Sprawling across the foothills of Mount Tochal is the luxurious complex built by the Qajar and Pahlavi dynasties, with gardens, museums, and palaces. It is an excellent place to explore the history, mythology, and culture of Iran.

Yampolsky's photos will remain on display at the exhibition at the Sa'dabad Cultural and Historical Complex until June 27.

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