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«Sin el impulso imperioso de librarse del dolor», by Alejandro García Contreras at N.A.S.A.L, MX

From May 26 to July 9, at Proyecto N.A.S.A.L, CDMX

Here force failed my high fantasy; but my desire and will were moved already — like a wheel revolving uniformly — by the Love that moves the sun and the other stars.

 The Divine Comedy – Dante Alighieri


Just like there are chapters to every story undoubtedly there must be an ending for any beginning, an outcome which is revealed under its own conditions following a sequence of events or elements which allow it to be defined for posterity. Each individual writes their own tale through their own experiences and due conclusions, moments where the catharsis comes from facing one´s self in the eve of consequence, in that state of reflection where there´s nothing left but surrendering to the truth. If being in the presence requires an acceptance of the past, how could a future free of repercussions be conceived?

The philosopher Alan Watts (1915, England) believed that the only way to reach a state of fullness as  an  individual  was  by  accepting pain as an intrinsical part of one´s self, only then could we live in the moment without being tied to that emotion which deviates us from a different outcome. In  his  book  “The Wisdom of Insecurity: A message for an age of anxiety”, Watts exemplifies this detachment from emotional conflict as a state of complete acceptance, a way of perceiving existence as something inevitable: “the  mystery  of  life  is not a problem to be resolved but a reality to be experienced”. Under that same premise one could argue that the character of Dante in the epic poetry of “The Divine Comedy” by Dante Alighieri has to experience the realities of hell itself in order to reach paradise and fulfill his wish to find himself with his beloved Beatrice, an experience than ends up renewing his faith in his beliefs and in life. In the aforementioned work symbolism plays a primordial role, from allegories to numerical references, “The Divine Comedy” has a particular representation of the number three starting with the fact that the story is divided into three parts: Inferno, Purgatory and Paradise, each one referencing a setting that the main character had to go through to reach the conclusion of his desire.

Following the line of a work of literature or even theatre, “Sin el impulso imperioso de librarse del dolor” can be interpreted as a final chapter or a conclusion in some kind of trilogy which has manifested itself in different stages throughout the last year in the life of Alejandro García Contreras, the author of this tale which comes to life through its climax and inescapable ending. Just like Dante in The Divine Comedy, García Contreras had to face himself in diverse scenarios which were conceived from his desires and emotions, going through such paths from the intuition of knowing himself in the twilight of uncertainty. Granting a shape to pain and emotions, the author of this exhibition is able to transmit a state of fullness through distinct scenarios where the only truth was revealed when one was accepted despite everything, a spark that permeates each work which formed a part of this narrative which is filled with symbolisms and personal allegories.

Through a personal reflection we can discern a language forged by an intuitive sensibility, a compendium of ideas and emotions which are expressively shed over matter to conceive unexplored possibilities in the terrain of the affectionate. The complexity of the compositions which make up this chapter force us to fully submerge ourselves in each detail which entwines its own stories, each one culminating with an invitation to travel to a parallel universe which can be as far or as close to each person seeing themselves reflected within them. Our notion of the past comes to life in the referential dynamics of this body of work comprised by recent works of the author´s, throughout this narrative of singular fantasies the spectator can ascertain distinct temporalities within the history of humanity and even find themselves within these materialized outcomes. If there was a key to access this alternate universe it would have the form of a mirror for only through our own self-acceptance can we navigate this scenario until finding its ending, that conclusion where the body of work is revealed in its entire veracity and its existence relies on the life it will take once someone extraneous is willing to experiment their own nature in the same form.


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