The Young Art Room presents the exhibition "The iguanas will bite the men who do not dream", one of the winning projects of the XVI edition of the selection "Se busca comisario", which is committed to new curatorial models, facilitating access to the professional world of young curators.
The sample investigates those ideas and images that survive among us and that, without us being aware of it, bring us back to the forces of nature, to the continuous oscillation between the past, the present and the future that exists in the life cycles. The works that compose it, by five artists and mostly sculptural installations, refer, thanks to the hidden symbolism of its materials, to the myth or folklore, to offer us a resistance to the current order of things, positioning themselves both critically and as new organizational forms of the world.
On the ground floor, the artist Monica Mays with her piece Without Ornamental Value presents us a large sculpture as a mammoth, shapeless and primitive icon. If we pay special attention, we will see that this has been built, among other remains, with palm leaves. The useless waste, with little economic value, that our society discards after the extraction of its blood, the oil, which works as an engine of industries.
Weixin Quek Chong is inspired by the funeral rituals of the Han dynasty for her installation Immortality Masks recovering the lost memory of deities and cult figures placing them in a society where spectacle, pleasure and liquid corporeality give us new idols, more confusing and less stable, but that seem to establish a more direct discourse to our closest needs.
Sandra Val, in her installation Agón resorts to the Egyptian game of Dogs and Chacals to tell us about architectural constructions as a means of defining and understanding the world, and, in turn, nature and our relationship with it.
On the top floor of the exhibition, the artist Emmanuela Soria Ruiz presents Fire and Flight, two textile pieces that point to a feminist and post-humanist reading of the myth of the daughters of Minias in Ovid'sMetamorphosis: these textile sculptures - curtains that suggest both concealment and transit - capture a moment of rupture: the flight and the disaster prior to the metamorphosis of the sisters into bats and invites us to think about the relationship between body, materiality and mutation, and the disasters that precede all metamorphosis.
Finally, in The Construction of the Flesh, Paloma de la Cruz confronts us with a being in the flesh, with nature that awakens in the construction-body, or what was body, or what is going to be body, or body projected on the walls that inhabits, or walls that the body has modeled to fit in them.
These artists seem to want to point to the animal camouflaged among the undergrowth, to the stories that sleep transmitted underground from generation to generation. And what if those creatures that we intend to ignore rebel, what if instincts and senses that we force to remain asleep are revealed? And what if they decide to devour us while we continue running?
