History

In 1968, Mexico presented itself to the world as the host of the Olympic Games with great creativity. In Mexico, ’68 took up the Greek essence of the Olympics again and proposed a year of Cultural Olympics in addition to the two weeks of athletic games. Thus, for the first time, intellect and strength shared the same goal. Mexico managed to contribute to the concepts that govern the Olympic jousts up to today.

For the Cultural Olympics, 20 events were proposed in different disciplines such as the following: dance, music, poetry, children’s painting and sculpture, science, among others. Virtually all countries from around the globe contributed the best of their cultures.

One of the most renowned projects to come from the ’68 Cultural Olympics in Mexico is the largest sculptural route in the world, at 17 kilometers length. Along it are found arranged 19 stations (sculptures), constructed from concrete and created by artists from the five continents. With sculptures ranging from 7 to 26 meters high, the project conceived by Mathias Goeritz with the help of Architect Pedro Ramírez Vázquez was brought to life.

In the original plan, the works of art full of nuances appeared scattered every one and a half kilometers over two distinct landscapes: the first in a valley of volcanic rock, the result of Xitle erupting two thousand years ago; the second over rural fields of cultivated land and small lakes, natural characteristics of Xochimilco.

In this way, modern art took to the streets and spectators enjoyed this invaluable artistic setting where each one interprets what they feel. The route was valued as a geometric and colorful journey that conveyed the different stages of the Olympics.

The Route of Friendship laid completely abandoned for 25 years, during which it faced countless threats, including severe modifications from rapid urban growth.

To save the Route, it was decided to do so piece by piece, fundamentally keeping in mind an in depth restoration and above all, guaranteeing their conservation through self-sufficiency and the participation of those who live side by side with them, as well as the constant use of the sculptures through different programs. Through the Adopt a Work of Art project, private and public institutions are invited to participate by donating resources for the restoration and conservation of the pieces to a trust expressly created for this project.