This work of art comprehends a collection of images and text to reflect upon sociopolitical conflict in Mexico. The images are pictorial
representations of artifacts such as cars and buildings which were violently destroyed during the mentioned conflict. Written on index cards, the text shows phrases from the speeches of some political leaders responsible of the aforementioned damage and who ironically emphasize positive ideals of growth, progress, goodness, equality, justice, peace, safety, and prosperity.
The different visual and textual elements are joined through strands of red thread put together in the same fashion as in the evidence
cartography used to resolve criminal investigation. This art work does not clearly reveal its geographical origins nor does it refer to specific personages despite the fact that the events are Mexican. The intention of such strategy is to prevent specific association with
Mexico and let similar conflict in other countries be evident so that it can be extrapolated to leading-to-human-self-annihilation, global, political processes.
Besides the pieces, the presence of map fragments as a symbolic resource rather than as an index has been considered from a museography perspective. The red thread is expected to fill up the space to help the spectator be involved not only visually and/or rationally but also physically into the discursive axle.
Dystopian Evidencess, 2017.
Mixed media: Oil and watercolor on paper andcanvas, digital prints, notes, straight pins, thumbtacks and thread.
210 x 300 x 100 cm.