The visible world is governed by rules and parameters that can be understood through the use of reason and knowledge. The sciences have focused on legitimizing, tracing and diagnosing issues related to the physical dimension of the world. In contrast, the invisible worlds, which are not governed by linear parameters, nor by measurable structures within numerical logic, represent a barrier for modern sciences. The constant explanation of the world’s physical phenomena has determined the direction of academic studies and the production of technologies employed by the former.
However, for the modern man has not been able to create some kind of technology that could bring him closer to the phenomena inexplicable by reason, to the manifestations of the immaterial spheres of the universe. For ancient peoples, the technologies of the invisible were at hand. They were offered by nature itself to help decipher. Art, religion, the sacred and the sciences were part of the same network of knowledge that did not distinguish limits between fields of knowledge, nor between men and the universes.
Poetry, language and singing are, within this precise ecological ecosystem, technical tools that allow access to other dimensions. The cycles of the moon, the harvest, the waters, marked the rhythms of customs and brought again and again, in an eternal return, their own life and that of their ancestors.
As an act of resistance, Wilson Rodriguez's work is an attempt to recover the poetics of the vital rhythms of his people. Transmitting ancestral knowledge is a way of guarantying that the laws of communion between men and nature remain stable. The Law for his people consists in continuing to live between the visible worlds and the worlds we do not see. This way, art can also be understood as a strategy to connect dimensions - a strategy of revelation.
Sandra Monterroso uses the technical knowledge acquired through history by her female ancestors. Using the inheritance of her maternal lineage, Sandra weaves reality again and tries to balance the violence with which her customs and the different ways of inhabiting contemporaneity were teared. From a language of high poetic content and using materials loaded with ancestral symbolism, Monterroso's work manifests itself as a kind of portal that communicates the past with the present.
The work of Iván Krassoievitch consists in a series of exercises that function as abstract and dynamic interpretations of a selection of Nahuatl poetry obtained from the bilingual edition of the book Black and Red Ink (Miguel León-Portilla, Era, 2008). The Nahuatl poetry that we know comes from codices (part hieroglyphic writing, part painting) that were, for better understanding, interpreted, constructed and assembled in Spanish poetic language. However, in the originals there is no notion of verse, nor a fixed and closed corpus that could be called Nahuatl poetry, but moments within a set of codices, manuscripts and transcriptions that in one way or another have reached the present time.
The works of Iván Krassoievitch present in this exhibition are a subjective re-transcription of the graphic character of these poems. Krassoievitch uses the same geometric shapes for each translation (these could function as signs) however, according to the context or juxtaposition they produce different results, as happens with language. The word arises to name the world and within the artist's logic, these abstractions become things to name the words and their infinite possibilities.
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