Exhibition by Rocío García. Gallery Villa Manuela, Street H Nr. 406 b/ 17 and 19, Vedado. April-May 2019
A silhouette in the mist
Modesto D. Serpa
BELIKI TUMAN (The Great Fog) announces a conceptual viscosity in the artist's new pictorial solutions. Yeah, he takes a chance. In a gesture of nostalgia for the craft, he incorporates everything he discovers from the stages of splendour of a painting apprehended in a rigorous process of artistic training. However, Rocío, who has always known how to decorate her canvases with luxurious atmospheres and eroticized characters, encrypts new concepts with an inhospitable calm in formal solutions of classic shade, as is already customary.
The artist certainly understands sexuality as a political problem, where heterocentrism is nothing more than a tool to maintain the balance of an imposed social order. This has been the central discourse in the entire production of Rocío, a painting for the cracking of solid pillars (always badly placed) in the human socio-cultural imaginary. A geopolitics of sex and freedom as an indivisible pair in interpersonal dynamics. Perhaps that is why I always enjoy receptive processes when in a dilettante attempt the despots of power approach their works.
It happens that Roció hoce faced or the invisibility that has been imputed to the negation of the norm, to all that subjugated to the confinement by a social whole defined from the superstructure.
BELIKl TUMAN grants another type of legitimacy from the power of the artist. And in this act consists the grandiloquent of his concept: to appeal to the maintenance of the socio-political order through art. The sensor will never be able to understand that sexuality cannot, and should not, be confined to the private, as it responds to institutionalized practices that make it a social issue. What power is not right is that precisely sexuality responds to social practices in the instant in which they are regulated from the culture and structure. Then I begin the game of masks, a game that far from respect decrees repression.
Rocío gives continuity to the protagonism of the male body in the constant dissolution of an "obligatory heterosexuality", where incessantly the existence of a multiple reality is annulled and that multiplicity is oppressed. In such processes there will always be a physical and symbolic violence that floods each of the artist's compositions.
The great fog, which has extended from the highest substrates of international politics to the cultural processes of the courtyard, takes on particular aesthetic nuances in this exhibition. Rocío resorts to an economy of resources in the disposition of the planes, use of color and line, etc. for the implementation of a "no space" of her scenes. Only the body transformed into the political power of biopower, of a biopolitics destined to produce bodies in social tension, is erected in his canvases. In BELIKl TUMAN these tensions are concentrated in recurrent representations of a dominator and a dominated one sometimes only suggested in the symbolic resources wielded. Through these new pictorial solutions, Rocío appropriates the aesthetics of the sketch and other oriental gains to deterritorialize all criteria of normalization.
In her most recent Manuela show, the artist's characters reach a higher state of freedom longed for as autonomy. And since we already know that this free will corresponds to a painful fiction, we may not leave the sinister jungles of Rocío with another record than that of guilt and the constant threat of estrangement.