Mario Cepeda: El legado de un gran Inútil

Hace poco, falleció uno de los grandes artistas rancagüinos: Mario Cepeda. Este multifacético artista, además de pintar, escribía y era titiritero. Era Almirante del legendario grupo artístico Los Inútiles, fundado en 1934, cuyo integrante más famoso fue Óscar Castro. El regionalista tuvo la oportunidad de conversar con su hija, Cecilia Cepeda, también artista y miembro de Los Inútiles.

A.C. Mercado-Harvey

¿Cuál es el legado de tu padre?

Está ligado a Los Inútiles a través de su obra pictórica y, también, hizo otras actividades como talleres para brigadistas de murales. Mi papá no militaba, pero era de izquierda, medio anarquista, y defendía la autogestión. Dejó hartas cosas en la gente. Él pertenecía a la época de conversaciones infinitas. Fue muy impulsor de la revista de Los Inútiles, él estaba a cargo, con 81 años y trabajó hasta hace un par de semanas antes de fallecer. Era muy impulsor de cosas y nos apuraba a todos. En la revista hay un legado importante y, también, en sus cuadros. Es un gran acuarelista, nunca dejó de experimentar en el área de la acuarela. Tuvo muy buena crítica y trabajó con los grandes: Israel Roa, Premio Nacional de Arte, Alfonso Puente, entre otros y aprendió de ellos. Fue creador de la primera sala de exposición de Rancagua, el Taller 609, ya olvidada en el tiempo. Fue el primer lugar en que se exponía y era gratuito, trajeron a artistas a nivel nacional, vinieron modelos de Santiago, pero era caro, algo casi imposible en los 60-70. Después, encontraron a modelos locales que no les cobraban, se sacaban fotos y pinturas de desnudos.

Una cosa muy linda fueron los saludos que se enviaron, donde encontré muchos de jóvenes de diferentes edades. Mi papá siempre apoyó de manera incondicional, independiente de raza, clase social, género, a quien se lo pidiera. El mundo del arte es súper arriesgado y él apoyó siempre. La clave era compartir el conocimiento, no quedarse con él y no caer en las trampas del ego. Ser generoso, difundirlo, ya sea enseñando o desarrollando su arte. Mi papá no tuvo formación de profesor, pero hizo clases en el Pedagógico, de acuarela. También hizo talleres en colegios: de pintura, de teatro y de títeres. Por ejemplo, en el CEIR (Centro de Estudios Interdisciplinarios), que estaba en el centro de Rancagua, hizo clases de pintura en los 90.

¿Cuáles fueron sus últimos trabajos?

Uno de sus últimos proyectos fue hacer una exposición itinerante con los artistas que pudieran participar, hablar con la gente y la idea era llevarla a los colegios y por las juntas de vecinos. Pero, en particular, en los colegios, porque me decía que ahí estaba el público. Su idea era acercar el arte a las personas, porque el arte no era para ser exhibido en un museo, era para mostrarlo en un espacio con niños y que ellos estuvieran ahí, que hicieran preguntas, que pintaran. Algo hicimos en el Colegio San Alberto, antes de la pandemia. Ahí fueron todos Los Inútiles plásticos, estuvieron trabajando en vivo y hablando con los niños. También, se llevaron libros. Mi padre siempre estuvo por integrar a los artistas plásticos con los escritores, pero centrando en que el trabajo debía estar en las nuevas generaciones de todas las clases sociales.

Además, fue titiritero y formador de titiriteros. En la Isabel Riquelme y, a través de los títeres, les enseñaba a los niños a crear cuentos. Hubo mucha gente que él formó en eso. Con sus títeres hizo unos programas infantiles en Sextavisión.

 ¿Por qué nombraron a tu padre como el Almirante de Los Inútiles?

Los Inútiles tienen una jerga marina, está el marinero, contramaestre y almirante, que es el que representa el espíritu del grupo. Hacía muchos años que no tenían almirante y, por primera vez, nombraron a un artista visual. Lo hicieron el año pasado, el 1 de noviembre en el cementerio. No quería aceptar el cargo, pero lo hizo. Era el más antiguo que quedaba vivo y siempre recordando cuál era el espíritu del grupo: anarquista, independiente, sin preferencias ni políticas ni religiosas, en pro de la cultura. Reactivando y leyendo los antiguos números de Los Inútiles -los consiguió en la DIBAM- vio que los textos eran súper actuales. Le dieron un giro a la revista con los artículos de opinión, la revista se distribuye de forma gratuita, y es autogestionada. No tenemos cargos, estatuto, eso hace que funcione el grupo. Mi papá siempre tenía mucha energía, empujando a todo el resto.

Entiendo que ahora te quedas en el puesto de tu padre en esta agrupación.

No hay puestos, no soy Almirante. No me quedo en el puesto de mi papá, pero sí estoy trabajando con ellos hace varios años. Esto funciona con invitaciones, es un grupo de amigos bien atípico. Lo que nos caracteriza es la amistad, no hay jerarquía y siempre ha funcionado así. Por eso es desordenado, pero se adapta al espíritu libre que tenemos todos.

¿Crees que Los Inútiles tienen algún impacto en la sociedad rancagüina de hoy?

No sé. En San Fernando me di cuenta de que conocían el grupo, Rancagua es difícil en términos culturales. El nombre viene también de cómo ve la sociedad a los artistas: inútiles. Es una sociedad muy consumista, la gente no sale de ciertos espacios, del centro, de los malls. La literatura y todas las artes, es un círculo muy cerrado. El público joven no se debe olvidar, y es complejo, porque sus padres no son consumidores de cultura. Hay una tradición en Los Inútiles ya que el mundo antiguo lo respeta mucho, pero las nuevas generaciones no lo conocen tanto. De ahí nació lo de los atriles, la exposición itinerante. Pero vino la pandemia y luego su enfermedad.

¿Crees que el arte es lo suficientemente valorado en Chile?

Es una pregunta difícil. Te enseñan que el arte es importante, le das valor a aquello con lo que tienes vínculo afectivo y si no conoces arte, no generas afectos. Si no hay nada que te relacione con el arte, no lo vas a valorar ni sentirlo como propio. Por ejemplo, las esculturas de Samuel Román todas rayadas en Santiago. Eso pasa por no saber quién fue, cómo se esculpe, no le puedes dar significación. Como sociedad, tenemos una tarea importante, la cultura es algo que nos vincula con la espiritualidad y que tenemos muy descuidada como sociedad. Uno de los riesgos que veo es que hemos construido una carcasa que se queda más sin alma, y eso genera un vacío en los pueblos. Eso es grave porque no hay cómo llenarlo.

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