CARLOS CASTRO AND MYTHOGRAPHY AS A SOCIAL FRAMEWORK
Carlos Castro (Bogotá, Colombia, 1981) arrives at La Cometa’s Madrid venue with Mythstories, an exhibition that delves into the validity of mythography as an active structuring force in contemporary societies. Employing a medieval aesthetic in the composition of the tapestries that materialize his work, the Colombian artist reinforces the idea that the genesis and support of myths remain present, just as they have always been, as constitutive narratives of history and historiography.
His proposal is grounded in an archaeological approach, gathering and recording discursive elements, as well as aspects of memory and contemporary narrative from archives and media. By locating popular imaginaries and an iconography of the hero and the antihero, Castro shapes an unreal and mythological universe around that which underpins myth, ultimately bringing together the contemporary and the medieval in a dialogue between two positions not as distant as they may seem.
His tapestries present a real register of the imaginary, immersing themselves in the fragility of conspiratorial discourses, the romanticism of the idea, or the creation of the legendary, while endowing them with the visual force required to sustain an ideology—an instrumental use of the image as a necessary tool in narration.
Here, the artist connects with the fundamental importance of the originating myth, with the romantic element that forms the basis of the subsequent construction of social and political discourse. The works presented in Mythstories convey an overwhelming, even suffocating, figurative density—yet one that is conceptually necessary. Passing through his tapestries are historical, political, sporting, and social figures, all bearing the aura of representatives of circumstances that affirm a contemporary pantheon of doubt.
The effort required of the viewer is both necessary and crucial for comprehension and for the possibility of demystification, though always carrying the risk of reaffirmation. Nevertheless, his proposal immerses itself fully in the realm of fiction, religion, and contractual narratives as structuring agents of contemporary societies.
Carlos Castro. Mythstories can be seen until November 5 at La Cometa’s Madrid venue, San Lorenzo 11, Madrid (Spain).
May interest you
CONDEDUQUE CONNECTS ITS ARTS PROGRAMMING WITH LATIN AMERICA
By Álvaro de Benito
Condeduque, one of Madrid’s leading cultural centers, has unveiled its seasonal program, which establishes a strong connection with Latin American art and thought. The municipal institution, which recently appointed the Mexican writer Jorge Volpi to oversee the center’s cultural direction, has also redesigned its proposals into seven areas of activity, reinforcing connections between the various performing arts and exhibition spaces.
JULIA TORO AND THE RECORD OF THE EVERYDAY IN THE CHILEAN DICTATORSHIP
By Álvaro de Benito
The Lázaro Galdiano Museum in Madrid hosts the first exhibition in Spain of veteran photographer and visual artist Julia Toro (Talca, Chile, 1933). Her photographic production yields to both simplicity and wonder, frameworks that delimit and amplify the everyday themes she addresses. The protagonists of this cyclical, customary flow of life in her work are diverse, and their problems and experiences drift among the concepts of love, pain, memory, and relationship with their surroundings.
REFLECTION ON THE RESIDUAL IN AGUIRRE AND DELPIN IN MADRID
By Álvaro de Benito
Inventory of Fragile Materials is the title of the exhibition by Rocío Aguirre (Concepción, Chile, 1989) and Camilo Delpin (Concepción, Chile, 1989), presented at Spolia Haus until mid-month. Organized in collaboration with the Chilean Embassy in Spain, the Chile-Spain Foundation, and PHotoESPAÑA, the exhibition brings together two projects that, while distinct in their visual idioms, converge conceptually in their shared investigation of the residual.
MEMORY, PHANTASY AND RESISTANCE IN NAUFUS RAMÍREZ-FIGUEROA
By Álvaro de Benito
Naufus Ramírez-Figueroa (Guatemala City, Guatemala, 1978) has long warranted a mid-career exhibition such as the one hosted by the Museo Reina Sofía. His ongoing activity and presence in institutions and performances over recent years have positioned the Guatemalan artist as a key figure in the development and visibility of contemporary Central American art beyond its geographic framework.
LATIN AMERICA EMPHASIZES ITS CRITICAL PRESENCE AT THE REINA SOFÍA
By Álvaro de Benito
The presentation of the current season at Madrid’s Reina Sofía Museum has underscored the strategic importance of Latin America and its artistic practices in the vision of Spain’s largest public contemporary art institution. This is not something new, since its commitment as a public museum has incorporated the Ibero-American narrative as an essential part of its historical account from the beginning. However, what does stand out is the accentuation of its critical essence in a program —the first fully developed under the direction of Manuel Segade, with the exception of a single exhibition— which introduces new elements.
THE IME HOSTS VANESSA ENRÍQUEZ SOLO SHOW
By Álvaro de Benito
The Cultural Institute of Mexico in Spain presents at its headquarters in Madrid the exhibition El silencio sedimenta (Silence Sediments), a look at the most recent production of Vanessa Enríquez (Mexico City, Mexico, 1973). The show revolves around six literary fragments that reflect on her work, materiality, and creative processes.
