Note on Five artists exhibit / Galiano Gallery

An interesting miscellany has been displayed in the Galiano Gallery, as a presentation of Dentro del Juego, a project that brings together the work of Carlos Manuel Loriga Gil, Glixael Maikol García Hidalgo, Yoelvis Chio Consuegra, Erick Sacramento Ortega and Leonardo Montiel García. Following the most orthodox paths of international installationism, with opportune sips of the old ready made and material painting, the exhibition manifests a decorous appropriation of proven codes, in which renovation, interpretation and collage construct a curious domestic version of these tendencies of the second half of the last century.

In Jardines invisibles (Invisible Gardens), the title of the exhibition, the solutions that link form and content are ingenious, and the creators seem to be at ease with these formulas. Sticking to what has been seen, which is how any aesthetic-visual information arrives first hand to any spectator, I think that the factual results of what is shown here are praiseworthy, with a careful montage and curatorial conception. The day I visited this exhibition had already been inaugurated days ago, and there was not a soul. The one person in charge of looking after the place had no idea what he was guarding. There was also no folding, text stuck to the wall or any other reference that helped me to contextualize what I saw with its creators.

 Sun in my ball´s, establishes an ironic paragon of genres with the symbolic placement of sexual attributes on two beach chairs for sunbathing; meanwhile, Under the Eye of God, subverts the models of divinity with which the spectator can appreciate this work (tables served with crockery, bread and tins of sardines hung upside down from the ceiling). It is evident the installationist vocation in these works of Carlos Manuel, as much as it could be defended by Yoelvis Chio with, Tres son más que uno, a urinal with enameled polychrome circles on its surface, in frank allusion to the historical referent of Duchamp. However, Yoelvis does not renounce bidimentionality, and hangs canvases impregnated with an amalgam of vegetable matter, clay and cement (Discourse of Dead Flowers).

This is priceless, by Glixael Maikol, it seems to be playing with a luminous statement that runs completely the opposite, in a hidden prestidigitation that whispers something about the intrinsic value of art. The assemblies in flat urns of wood and glass, with a varied assortment of ingredients, among which there is earth, cellulose, salt, leather and blood, are the manifest work of Erick Sacramento. Lexia 1, for example, belonging to the series Ascuas, uses written texts, involved with all that diversity of expressive resources, to talk to us about the transcendence and equivalence that the written code has with the natural, already dead. Leonardo Montiel, with Body of water, repositions the functionality of rims and tires of automobiles, at the service of other semantic functions.

It's interesting and recommended, so if you're going to see the show, whether it's out of curiosity as spectators keen to gather information, or as reviewers for some publication, remember to bring cameras or cell phones, and a notebook for individual study at home, because you're going to want to know more, and ask questions that, there, no one can answer you.

Text and photos: Amilkar Feria Flores
Palatino Entropic Observatory / August 5, 2019, 03:15am