ferrocarril this,” says Carla Prat, the project’s Artistic Director. The staging is the result of rigorous academic research into the spirit of Kahlo in paintings, drawings and sketches which recreate her world as they come to life. So the spectator can see, hear, almost feel, and understand why and how Kahlo painted what she painted. Why her life inspired her work, and vice versa. The terrible traffic accident at the age of 18 that affect-ed her forever (that tremendous painting of a hospital bed, with Kahlo lying there with the scar on her back); how painting saved her dur-ing her convalescence; her passionate and traumatic relationship with Diego Rivera (“my second accident”); the anthropomorphised animals; the iconic Casa Azul where they welcomed the Trotskys; time spent at the artistic meccas of Europe and the USA. In Paris, when Picasso, who rarely showed his admiration for others, commented to Rivera, “Neither you nor I are capable of painting eyes like she does.” And how she faced the end, so young: “I hope the exit is joyful and I hope never to return.” All of these keys to Kahlo are written in fragments from her diary and the letters that help make sense of her paintings. “Artist, Aztec, dancer, The whole venue has been turned into a giant, continuous screen. Along with magnified paintings, drawings and sketch-es, there are also graphics, cre-ated using often tiny details from Kahlo’s imagination.