Mexican artist Marcos Castro presents the exhibition The State of Things, which is inscribed in an imaginary where, for example, the work of landscape painters such as Dr. Atl and their work around the birth and behavior of the Paricutín volcano resonates. . In addition to his interest in volcanology, and in particular the historical implications resulting from the activity of these geological structures, the erupting volcano in The State of Things has a multiplicity of readings, among them, it symbolizes the breaking, the fracture of ideological constructions rooted in the artifice of history.
In the exhibition, the artist moves between drawing, painting, sculpture, video and animation, this time incorporating augmented reality through an application that will allow visitors to experience the piece in motion and in three dimensions.
In his work there are references to the history of the country, to the cultures prior to the arrival of the Spaniards to this geography; his approach questions strategies such as the homogenization of pre-Columbian cultures in the nationalist discourse. He distinguishes fiction and drama as two effective components for the assimilation of official history.
The exhibition addresses the sublime of an apocalyptic event, an overflow of nature similar to the Xitle volcano eruption portrayed by Camarena. It is not possible to trace a linear time in the story, the time of Marcos Castro transits in a different order: past, present and future take the form of the giant hand of a robot, skeletal remains, the idea of progress or science fiction. In the scene strewn with cacti, the absence of the eagle stands out and thus the founding myth of Tenochtitlan disappears in a landscape consumed by the catastrophe, desolate and on fire. The volatile present spills out into space with all its uncertainty.
