Opening Saturday, September 7th | 12 PM
Yo creo que son temas primordiales que hay que atacar de frente y va todo junto.
(I think these are fundamental issues that must be attacked head on and it goes all together.)
Political time is that which is on the clocks given out during election campaignsNo need to think about it too much. This is why the ballot has to be so carefully considered, six years of your life will be yellow if PRD, green with PRVM, blue if PAN, maroon with MORENA or tricolor (green, white and red) if PRI. But it also needs to be taken a sense of humor because then, we know that deep down they are all tricolor, it is a century-old optical art.
¿Qué horas son, mi corazón? (What time is it, my darling?) True, very good question. Here in PRIhistory you have to be on time because it is always time to chingar (fuck someone over). Ignacio’s watches only measure what has been b.C. (before Cárdenas) and a.C. (after Cárdenas), that is, the beginning of the PRIstian era. A specific temporality of the verb chingar, in infinitive, to infinity. It is no accident that these watches have stunted. Like a scratched CD they inhabit an infinitesimal loop of political traumas. What time is it, my darling? True, very good question. It’s 13:28.
From doubt (duda) to debt (deuda) there is only one vowel along the way.
“E” is a vowel that is abundant in the demography of the Hispanic lexicon. For example, in this short text (in it’s Spanish version) there are already more than 100 “e”. Did you know that the only legible word we would have if we cleared the vowel “e” from all this set of characters would be “doubt”? The doubt in debt is finally naked.
The question lies in the plastic of your favorite presidential credit subject. Check it. Verify it. Grab the card, pass it through the reader and see what the uncertainty that solves his neoliberal condition is, his popular line of credit. Which bank grants these cards? None other than the Bank of the People which, religiously, every six years grants a single man all the credit of a nation state. Its motto is to socialize the losses, privatize the profits.
But there are things that are un-doubted, for example that excess air is a key factor in combustion. How much excess air contained in expressions such as “finance lease”, “factoring”, “active investment” or “sale of money orders! Inflation! Depression! But if those matches are from the 80s, shouldn’t we be ashes? No, that’s why technocrats went to the Ivy League to learn to breathe. They practice the aerobic art of economic balance that consists in administering the right amount of air below so that the roast doesn’t burn on top.
Daniel Aguilar Ruvalcaba, 2019
About the artist
Ignacio Gatica identifies and questions language systems, elements and structures that shape the experience of urban space, historical and personal memory. His work focuses on the different strategies with which the social landscape is conditioned by these elements and how they translate into cultural phenomena. From installation and sculpture, to text, video and painting, his practice is that of a cartographic approach to signs and signifiers, generating unexpected connections between components that appear to be dissimilar.
Born in Santiago de Chile in 1988, and currently living and working in New York, Gatica's recent research on the dissemination of neoliberal ideology is particularly appropriate, considering the parallel structural re-process that both New York and Chile suffered in the decade of 1970. As a by-product of this Gatica's generation has experienced the weight of this economic experiment's replicas and consequently has acquired the weight of a perspective that leads to the critical understanding of this event.
Motivated by an analytical position to understand what shapes the experience of living in a crowd, Ignacio is interested in modifying the perception of the key elements that build the fabric of the socio-political, merging information into materials and different disciplines to redefine the elements that shape the current human condition.