I Am Not Crying, But I Am Sure You Would Be Yelling at Madonna, Evita

Strolling through the Botanical Gardens near the end of my hostel’s street, I bump into my Australian roommate Jacquie and we decide to head off together to the Evita Museum. And finally it seems Latin America has got their conservation of historical sources right, although I am not so convinced by the repetitive tango music that accompanies everything, including her burial procession.

Located in the Hogar de Transito No. 2 – one of Evita’s housing projects for abused women – the museum contains a vast collection of film archives, clothes, and sources materials from her start as a radio actress, to her role alongside her husband in government. We walk through and see first-hand both the animosity and the outpouring she invoked throughout her life, with live footage showing several of her famous speeches, her work in fighting for the rights of workers, women, families, children and the elderly to be recognised in Argentina’s constitution, and the mutilation her bodied suffered at the hands of the military, after her death from cancer, aged 33.

And so it seems, neither of us knew the extent to which she and her husband Juan Domingo Perón had influenced Argentinean society, with Eva personally creating schools, medical and social research institutions, homes for the abused and underprivileged and even sporting championships for children in her role as Minister of both Health and Labour, and through her own Fundación Eva Peron.

Leaving us with much to ponder over, we were glad to stumble across the best lunch, and the most modern bathroom I have experienced yet in South America. A pumpkin and blue cheese tart was quickly washed down with a glass of chilled chardonnay, sparkling water and coffee – all for less than AUD$14. We felt very rewarded for our few hours of heavy reading and contemplation.

We then took a stroll through the Japanese Garden, with its strange connection to the city (the jury is still out on that one), making our way towards MALBA (Museum of Latin American Art) to buy tickets for BAFICI – the Buenos Aires Festival Internacional de Cine Independiente – which was running until the end of the week. We decided that a coffee was needed before heading inside –a close runner for the most expensive one I have ever had at AUD$5 – to experience the three floors of art and design.

First up were some 1900-1960 offerings from Mexico, sponsored by the country’s national bank, and including major names like Diego Rivera and Frida Kahlo (although her solitary still life of fruit and corn didn’t really satiate my hunger). Following that was a collection of black and white photographs from Manuel Álvarez Bravo - gelatin silver prints from the 30s and 40s which were also a little hit and miss for my modern eyes.

The final two floors took in Argentinean styles from the 60s onwards, with my newfound favourite, Antonio Berni appearing as many times as the gallery staff, who kept telling me off for taking photographs. (The truth was, that I kept being told “abajo” – below – so I would take my camera out on the next floor, only to later find out that they were meaning just the entry foyer). Luckily the bookshop underground was not so out of bounds, and I was allowed to snap away at its cozy design.

Finally making it home just before dark, Jacquie and were still inspired by the day’s events, to stay home and rent “Evita” from a nearby video store – but what a mistake that was! Nothing like what we had been told at her museum, Andrew Lloyd Webber and Tim Rice’s musical, adapted for film and directed by Alan Parker, painted Argentina’s favourite in such a horrible light, I really wondered how it had made it in the country. (Saying that, the government did actually realease its own film biography – “Eva Perón” – to correct the blinding distortions…which includes her singing alongside Che Guevara and sleeping her way to the top). As if smashing her corpse’s nose and covering her embalmed feet in tar was not enough.