note on Personal Exhibition of José Ángel Toirac / La Acacia Gallery

For all human cultures there is an identifiable moment of sublimation, ecstasy or divine circumstance, in which the senses, in frank alliance with the spirit (or interpreted as spirit), reach their greatest distance from earthly ordinariness. Depending on multiple ethnographic and historical factors, the spectrum of such a state moves in such a vast range that it manages to touch almost every nerve point of the body, regularly in the company of some ideological, religious, artistic supplement or any other form of collective consciousness, with or without hallucinogens.

Western culture, by its advantageous condition of global victimizer, has imposed many paradigms of what could turn out to be a state of grace, from its theological apotegmas to the most flagrant cerebral evisceration of mass culture, always mediated by the market. Here is the intersection of the way in which Adriana enters the dance, assuming and contrasting the theoretical Grace of the sacred scriptures, with the socio-historical derivations that come from a moment of ecstasy, whether sexual, mercantile, existential (in a hedonic sense), or as one wants to manifest for each one; all of them crouched behind the matrix concept of the divine, if not what drove the Europeans to generate in America the most calamitous human chaos since there is historical record? God? Of course, the gold-melted God of the indigenous cultures of a continent unknown to them, who by nomenclature was stuck with the mucus of another presumed discoverer, Américo Vespucio (Prepucio, for the original peoples).

This whole monserga comes to mind, since the results of half a millennium later have their roots in that long historical juncture. The Grace that Adriana submits to scrutiny is intimately linked to the attachment to exchange metals, their equivalences and mechanisms of ascension (in all their meanings) in good measure returned, or wrapped, iconically, in a subtle figuration that wants to return, from the classical cultures of antiquity to our days, with that aura of sublimation that justifies any sacrifice, almost always human, understood as blood. So that supposed distancing from earthly ordinance, achieved during such a state, is diametrically subverted in his artistic conception. In the series that gives title to the exhibition, the creator is delighted with formal nuances nothing explicit, to which the viewer must be very attentive in its contents. There, condensed after tiny pieces of goldwork, is the amalgam of what can take us to that promising sky in life: marijuana, travel, orgasms, birds of paradise, marketing, politics, subversion and, of course, God, in all its cultural variants.

In addition to the series that anchors the concept of the exhibition, the artist uses other expressive resources, whose series she decided to name in other ways. In them he appeals to ceramics and sewing as fully visual resources, which he does not use for the first time; rather, they are tools aided in the trajectory of his work. On this other list are works such as "Implants, transplants and migrations", or the series "Worship and sacrifice". Well deployed is "The weak states", the installation that receives the spectator: bedclothes suspended in a trance of levitation, which awakens many interpretations, curatorially resolved in a very suggestive way.

I don't know if the words that accompany the catalogue are by Luís Enrique Padrón, who in the credits appears as Deputy Commercial Director of Villa Manuela, although his name is the only one that appears close to the text, but about the reproduction of one of the works in exhibition, which generates logical doubt. The point is that I wanted to quote him because of the contextual nature of his vision, and he had to be clear about this; the text says: "But as no artistic effort is totally autonomous, the extraordinary circumstances that our society goes through are alluded to as apostilles to what democracy means. A state of grace also deepens the sense that critical thought has or should have for contemporary life, affirming that the existence of the world is justified only as an aesthetic phenomenon"

 Text and photos: Amilkar Feria Flores

 Palatino Entropic Observatory / September 7, 2019, 02:50pm