Hurricane Grace Makes a Mess of Mexico's Mayan Riviera

A road sign brought down by the winds of Hurricane Grace straddles one lane of a highway in Tulum, Quintana Roo state, Mexico, Thursday, Aug. 19, 2021. (AP Photo/Marco Ugarte)
A road sign brought down by the winds of Hurricane Grace straddles one lane of a highway in Tulum, Quintana Roo state, Mexico, Thursday, Aug. 19, 2021. (AP Photo/Marco Ugarte)
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Hurricane Grace Makes a Mess of Mexico's Mayan Riviera

A road sign brought down by the winds of Hurricane Grace straddles one lane of a highway in Tulum, Quintana Roo state, Mexico, Thursday, Aug. 19, 2021. (AP Photo/Marco Ugarte)
A road sign brought down by the winds of Hurricane Grace straddles one lane of a highway in Tulum, Quintana Roo state, Mexico, Thursday, Aug. 19, 2021. (AP Photo/Marco Ugarte)

Hurricane Grace struck Mexico's Caribbean coast just south of the ancient Mayan temples of Tulum on Thursday, tearing the roofs off some homes, knocking out power to thousands and keeping tourists off white sand beaches as it crossed the Yucatan Peninsula.

The push across land weakened the storm, but by evening it was centered back over water — the Gulf of Mexico — and the US National Hurricane Center said it was again regaining strength as it headed for a collision with the Mexican mainland late Friday or early Saturday.

The Category 1 storm had already soaked earthquake-damaged Haiti, Jamaica and the Cayman Islands en route to a direct hit on the Riviera Maya, the heart of Mexico's tourism industry. Grace's center struck just south of Tulum with maximum sustained winds of 80 mph (130 kmh), according to the Hurricane Center.

By night, tropical storm-force winds were back up to 65 mph (100 kph) and rising. It was centered about 360 miles (580 kilometers) east of Tuxpan and was heading werst at 16 mph (26 kph).

in Tulum, some families passed harrowing hours sheltering from cracking trees and flying debris.

Around 2 a.m. Thursday, as Grace's eye spun just offshore, Carlos González grabbed his 1 1/2-year-old son and ran from his home with his wife to a public school converted into a shelter for dozens of families. The light from his cell phone helped them find their way through the dark streets.

“The only thing I have left is what I'm wearing,” the 35-year-old construction worker said. “I knew my house wasn't going to stand it because it's made of cardboard. When the wind came I was really scared and decided to leave.”

Miguel Ángel Garcia decided to stay. On Thursday, he used a machete to hack at a tree trunk that had fallen onto his home's roof.

“The wind came and they told us we should get to the school, but we didn't have time because the trees started coming," said the 33-year-old waiter. "We decided to stay and not go out into the street and leave it up to God.”

Many streets were blocked by fallen limbs and trees that pulled down power lines, leaving thousands in the dark, reported The Associated Press.

Most businesses remained closed, but the few that opened saw long lines of residents waiting to buy tortillas and other food.

Quintana Roo Gov. Carlos Joaquín said the storm had knocked out power to some 84,000 customers in Cancun and 65,000 in Playa del Carmen, Cozumel, Puerto Aventura and Tulum. But he said there were no reported deaths.

Cancun's international airport reopened Thursday afternoon.

One lane of the highway between Playa del Carmen and Tulum was blocked by a fallen road sign. A gas station was destroyed when a large pavilion blew down, smashing two cars.

The state had opened shelters and evacuated some hotels and residents ahead of the storm's arrival. Grace missed the popular cruise ship destination Cozumel and came ashore south of Playa del Carmen, where the downtown, usually thumping with music and clubgoers, was eerily desolate Wednesday night. Authorities had ordered all businesses closed and people inside by 8 p.m.

State authorities said that as of last week, the region was hosting about 130,000 tourists and hotels were more than half full despite the pandemic.



How a Viral, Duct-Taped Banana Came to Be Worth $1 Million

Artist Maurizio Cattelan's piece of art "Comedian" hangs on display during an auction preview at Sotheby's in New York, Monday, Nov. 11, 2024. (AP)
Artist Maurizio Cattelan's piece of art "Comedian" hangs on display during an auction preview at Sotheby's in New York, Monday, Nov. 11, 2024. (AP)
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How a Viral, Duct-Taped Banana Came to Be Worth $1 Million

Artist Maurizio Cattelan's piece of art "Comedian" hangs on display during an auction preview at Sotheby's in New York, Monday, Nov. 11, 2024. (AP)
Artist Maurizio Cattelan's piece of art "Comedian" hangs on display during an auction preview at Sotheby's in New York, Monday, Nov. 11, 2024. (AP)

Walk into any supermarket and you can generally buy a banana for less than $1. But a banana duct-taped to a wall? That might sell for more than $1 million at an upcoming auction at Sotheby’s in New York.

The yellow banana fixed to the white wall with silver duct tape is a work entitled "Comedian," by Italian artist Maurizio Cattelan. It first debuted in 2019 as an edition of three fruits at the Art Basel Miami Beach fair, where it became a much-discussed sensation.

Was it a prank? A commentary on the state-of-the-art world? Another artist took the banana off the wall and ate it. A backup banana was brought in. Selfie-seeking crowds became so thick, "Comedian" was withdrawn from view, but three editions of it sold for between $120,000 and $150,000, according to Perrotin gallery.

Now, the conceptual artwork has an estimated value of between $1 million and $1.5 million at Sotheby's auction on Nov. 20. Sotheby's head of contemporary art, David Galperin, calls it profound and provocative.

"What Cattelan is really doing is turning a mirror to the contemporary art world and asking questions, provoking thought about how we ascribe value to artworks, what we define as an artwork," Galperin said.

Bidders won't be buying the same fruit that was on display in Miami. Those bananas are long gone. Sotheby’s says the fruit always was meant to be replaced regularly, along with the tape.

"What you buy when you buy Cattelan’s ‘Comedian’ is not the banana itself, but a certificate of authenticity that grants the owner the permission and authority to reproduce this banana and duct tape on their wall as an original artwork by Maurizio Cattelan," Galperin said.

The very title of the piece suggests Cattelan himself likely didn't intend for it to be taken seriously. But Chloé Cooper Jones, an associate professor at the Columbia University School of the Arts, said it is worth thinking about the context.

Cattelan premiered the work at an art fair, visited by well-off art collectors, where "Comedian" was sure to get a lot of attention on social media. That might mean the art constituted a dare, of sorts, to the collectors to invest in something absurd, she said.

If "Comedian" is just a tool for understanding the insular, capitalist, art-collecting world, Cooper Jones said, "it’s not that interesting of an idea."

But she thinks it might go beyond poking fun at rich people.

Cattelan is often thought of as a "trickster artist," she said. "But his work is often at the intersection of the sort of humor and the deeply macabre. He’s quite often looking at ways of provoking us, not just for the sake of provocation, but to ask us to look into some of the sort of darkest parts of history and of ourselves."

And there is a dark side to the banana, a fruit with a history entangled with imperialism, labor exploitation and corporate power.

"It would be hard to come up with a better, simple symbol of global trade and all of its exploitations than the banana," Cooper Jones said. If "Comedian" is about making people think about their moral complicity in the production of objects they take for granted, then it's "at least a more useful tool or it’s at least an additional sort of place to go in terms of the questions that this work could be asking," she said.

"Comedian" hits the block around the same time that Sotheby's is also auctioning one of the famed paintings in the "Water Lilies" series by the French impressionist Claude Monet, with an expected value of around $60 million.

When asked to compare Cattelan's banana to a classic like Monet's "Nymphéas," Galperin says impressionism was not considered art when the movement began.

"No important, profound, meaningful artwork of the past 100 years or 200 years, or our history for that matter, did not provoke some kind of discomfort when it was first unveiled," Galperin said.