AugustVol.20228
Atoms don't form us anymore Reflective prior to the 8 pm show Changing Perspectives Hilma Af Klint AGC Communism and Fall Out Ernesto Ocaña No idea is own Rossanna Huerta Victor Rivera M.I. Flores Nachón M.I. Flores Nachón Divine Ilumination Rossanna Huerta 3 5 11 15 18 20 23
Buymeacoffee.com/catartica AfKlint,Hilma(1915)Altarbild,nr1.
HILMA AF KLINT
The Spiritual in Art (1984), at the Los Angeles County Museum of Art (LACMA), showcases muchofKlint'sworkandexhibitspaintingsthatwere in storage for almost 40 years. This is how Hilma af Klint's work is rediscovered by the public and is currently recognized as a pioneer of abstract painting. In this exhibition is where we can find the painting that is shown on the cover of our magazine, "Altarpiece,No.1"(1915). From the series Paintings for the Temple, composed out of 193 paintings, including Altarpiece, No. 1, the artist generates vibrant compositions that show her interest in spirituality, geometric elements, and experimentation with both color and line, expressing very well the era and social environment that was discovering the limits between science and spiritualism, given the discovery of electromagnetic waves (1885) and X-rays (1895) that went from the understanding of the tangible to the study of that whichcannotbeseen
AGC 3
As one of her last requests, the artist Hilma af Klint (1862 - 1944) instructed her nephew Erik af Klint that her work should not be displayed until 20 years after her Thepassing.exhibition
Additionally, a fundamental part in the elaboration of her paintings involved having esoteric sessions in which, alongside a group of colleagues who called themselves De Fem (The Five), practiced automatic painting and writing. A Practice that intends to bring out the rawest and instinctive ideas from a semiconscious state through writing or painting, and which became known from the surrealists, who wanted to express the subconscious and free their drawing from the rational. While De Fem related this action with channeling the messages and ideas of what they calledtheHighMastersandpaintingthereceivedmessagesfromtrances.
H. Klint, (1915), Altarpiece, no. 1", Group X, oil and gold leaf on canvas, privatecollection. Sienra, R. (2021), Pinturas abstractas de Hilma af Klint que muestran su coloridavisiónsobrelavida,Historiadelarte,MymodernMET 4
Among the three large altarpieces in the series, the number 1 is composed by a circle positioned on top of a triangle. The circle can be understood as a shining golden sun, while the triangle as a pyramid, which is divided into seven color blocks, resembling a rainbow. The 16 different shades of color that form the pyramid have their symbolic meaning within the theosophical and anthroposophical spiritualist theory that the artist followed, who through her work illustrates the links between the physical andthespiritualworld.(Sienra,R.2021)
COMMUNISM AND FALL OUT ErnestoOcaña 5 Brodsky,I.(1933)PotraitofJ.VStalin
6 Fotograma
THEAESTHETICLEGACYOFTHESOVIETPROJECTAND THEPOSTMODERNRISEOFTHENUCLEARIMAGINARY
TheendoftheColdWarstruckaheavyblowagainstabinaryworldview.Thetriumphanthegemony of the capitalist system and the rise of neoliberal philosophy brought, oddly enough with them, the possibility of a more multifaceted world. The absence of clear or consistent enemies that justify the failures and deficiencies of the status quo betrays the absurd reality of the cultural systemic chaos and the inherent fragility of the contemporary social fabric. It is through this more comprehensive and less structural approach to sociocultural phenomena that we can revisit the cultural heritage of the Soviet Union, analyze its decline, and discover the curious contradictions that cemented the legacyofitsart. Stalker(1979)
FotogramaStalker(1979)
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To talk about the nuclearized fantasy that represents much of the general conception of the Soviet cultural legacy, we have to first talk about the focal point that shaped it, both historically andaesthetically.Stalker(1979)is a Soviet science-fiction film directed by Andrei Tarkovsky The unnamed protagonist of the film works as a Stalker, a kind of explorer who leads people through "The Zone",aplaceexemptfromthenormallawsof physics, full of supernatural manifestations andincomprehensibleartifacts.
Although any subtext of the nuclear threat in the film is fairly tenuous and the origins of "The Zone" as theepicenterofanucleardisasterareonlyallegoricallyalludedto,radioactivityhasanintegralpresence.
Thisfilmhascodifiedthevisualandthematiclanguageofanentiregenerationofpost-apocalypticfiction andcementednuclearfalloutasaperversesynonymformagicinourpostmodernity.
The nuclear imaginary is usually made up of fiction that describes a world after the fall of civilization. Empty cities reclaimed in part by forests, brutal barren tundra contrast with refugee camps, guns, nostalgia for the past and gas masks, such is the nuclear mysticism of radioactivity. Nuclear radiation plays an integral role within this type of fiction and the aesthetic that complements it. The mutations caused by radiation create an esoteric reality, hexed by science and full of possibilities, and at the same time, another one violent, hostile, and miserable. The mutations of the local fauna represent the total transformation of the nuclearized world into a plane hostile to itself and human sensibilities. Above all, humanmutations,so-calleddeformities,suchprofanationsofthehumanformthatshapenewalienation in our own bodies, that is one of humanity’s most dreadful fears and perhaps represents the total loss of dignity, at least in our collective conception. Body horror, transhumanism, and the alienation of the worldthroughnuclearfalloutareallimportantelementsofthenuclearimaginary.
Art and cultural constructs are often ways in which societies process traumatic phenomena. The first major cultural phenomenon resulting from nuclear anxiety was Godzilla, a mutant creature and natural disaster that embodies the terror of nuclear war and its lasting scar on Japanesehistory.Japaneseculture'srelationship with Godzilla is at once one of fear, reverence, hate, and admiration. Godzilla (1954), like “The Zone”fromStalker,representsthe violentclashofmodernitywith thenaturalessenceoftheworld, thecorruptionofthenaturalorderand the impossibility of doing anything about it other than surviving the consequences. More than a warning before disaster, they are an exploration and a search for meaning in an absurdbutapparentlyinevitablereality.
8 PosterShinGodzilla(2016)
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Berezovsky(1957)Wewillfulfilltheparty'scommission
PeaceforFighting(1950)J.Perahim,
LiketheUnited States,theSoviet Union sought touseart asacultural weapon. While theAmericans idealized the conceptual supremacy of abstraction as a metaphor for the unique freedom of the western world, the Soviet Union developed socialist realism as an immutable symbol of communist prosperity. Socialist realism is sterile, utopian and hypermasculine, idealistic in the face of the industrialized state, endowed with a clear, concise, and always static aesthetic. It depicts a homogeneous population whose most outstanding identity is to form the proletariat class, and its idealized ideological leaders. Its immutable nature has two functions, the dismantling of individual identityandthesocioculturalprojectionofperfectioninsideandoutsidethecommunistworld.
The meltdown of reactor No. 4 at the Chernobyl Power Plant that happened on April 26, 1986, was for the Soviet world, the cultural equivalent of Hiroshima and Nagasaki. The consequences of the Chernobyl Disaster consummated the sociopolitical legacy of Perestroika and marked the inevitable endoftheSoviet Union. Butthenuclear anxiety, andthefeeling of inevitable fall for the Soviet experiment, existed dormant in the population longbeforethat.Formany,theChernobylExclusionZone,imposedtoisolate areas where radioactive contamination became extremely dangerous, seems to have been predicted by Andrei Tarkovsky's film seven years in advance.
the last Soviet leader, knew the shortcomings of their government, the political movements of Perestroika and Glasnost were attempts to democratize socialism that existed only in appearance, purely aesthetic, flawed and authoritarian, but it was too late. In his words: "Chernobyl created the possibility of greater freedom of expression, to the pointthatthesystemasweknewitcouldnotcontinue."Unliketheillusionof socialistrealism,theculturalheritageoftheSovietworldismadeupofghost towns, mutated animals and assault rifles, misshapen bodies and souls, forests haunted by radioactive fairies, arcane and incomprehensible science, survivors and their little communities, selfishness and individuality, grief, despair,andcandidreality.
Thealienatingmysticism of"TheZone"andtheharshhistorical realityofthe Chernobyl Exclusion Zone have blended over the years to form a radioactive alchemy, more powerful and disgusting that has infiltrated the visual arts, literature,film,andevenvideogames. The contrast between socialist realism and the aesthetics of nuclear anxiety points to the failures and shortcomings of the Soviet project and the Bolshevik revolution. While realist art portrayed a utopian society made up of an ideologically homogeneous, prosperous and satisfied population; atomic aesthetics depict the oppression, violence and social injustice that took place inside the Soviet Union, the feelings of misery and lack of individuality resulting from the system. The arcane fallout that reflects and exploreshumannature,theradioactivevillages,abandonedfactoriesandthe wild mutant nature of nuclear dystopian aesthetics, expose the systematic and ideological cracks and subtle anxiety that caused the collapse of the Soviet MikhailUnion.Gorbachev,
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RossannaHuerta
NO IDEA IS OWN Knowledgecontrol
Within the social dynamics of humans, there is the practice of creating discourses; These discourses can be of a political, economic, social, cultural, or artistic nature. It could be said that they are ways of seeing the world and that they have changed throughout humanity. These are written and/or disseminated by anyone, however, those that proliferate the most are those that are related in some way to the elite of the moment. Therefore, depending on each era, each Institution has the option of endorsing a speech and giving it the value of "absolute truth" (Foucault,1996,p.13).LetusseethecaseofGalileoGalileiandGiordano Bruno, Galilei had to retract his scientific discourse while Bruno was convicted and burned at the stake in 1600. In this socio-historical context, his scientific discourse did not agree with the official discourse that was propagated by the Christian church, so it represented a danger totheirwayofseeingtheworld. However, the discourses are not fixed and unique, everything depends on the epistemological platform and its modes of subjectivation. That is, ideas expire, so the true value that they contain cases to be real and consequently changes the way of thinking; Returning to the previous case, after several years, it is possible to change the idea of the center of theuniverseandGalileiandBruno'sproposalisaccepted.
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In the sense that the proliferation of some idea that goes against the norm could topple the structures of the elite —and all those who are related to a status of power— so it is decided to put various mechanisms and guidelines to stop this. However —as happened in the previous example—, with these methods relevant information is retained that could improve the living conditions of the community. Certainly, the proliferation of speeches is a double-edgedsword,ontheonehandweseetherestrictionofvarioustopics that are not in accordance with the thinking of the elite, while on the other hand we see the rise of unfounded speeches. To put them in examples , we couldseeradicalfeminism,imposinghighertaxesontherichandcaringfor theenvironmentaswhatisnotinaccordancewithPower,whileontheother side of the coin we see the conspiracy theories of lizard people, Elvis is still aliveandvaccinescauseautism.
Everything is included in the fact that history is modified, let us remember the phrase "History is written by the victors", and people who are in positions of power have the ability to determine what we are going to consider as normal, beautiful, correct and royal. Gerard relates it to the world of art through the changes of taste, the ideal of taste is committed to change due to temporal instability and its spatial diversity. This is why the legitimacy of the "masterpiece" "beauty" and "correctness" are subject to the modesofsubjectivationofeachcommunity.
Critical discourse allows us to question various aspects of our reality within society let's just look at all the issues that resulted in Martin Luther's speech or the various feminist waves throughout modern history—, the discourse must lift up the revolution , to question and theorize. This makes the speech as a very volatile weapon within the official speeches with the "truevalueoftruth".
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Now,returningtowhatwaspreviouslymentioned,speechesaredangerous.
For Foucault there are4external mechanisms that allowed theelitetodominate thediscourses and the powers that their proliferation entails: Control, selection, organization and redistribution. It is simply intended that the author of these speeches encounter obstacles and "dead ends" when it comes to expressing and distributing them. Even so, the artist has managed to get rid of these restrictions by playing with the "terms and conditions" that society imposes on us, be it the case of Claude Gellée who painted landscapes during an artistic era where this theme was not well seen. It was considered that it was not worthy to represent peasants, cattle, landscapes at the time of the glorification of the human being, so he had to change the title —title but not the artistic piece— of several works to focus on accepted themes and genres. by society. Case seen with “Port with Cleopatra Landing at Tarsus”, where she included the name of a prominent figure “Cleopatra” to a painting where she is not seen as a central part of the painting in order for her painting to be accepted.
13 Now then, these exclusion procedures work for questions of the “prohibited” “what is not said” “l'interdit”, the control of what can/should be said and what cannot; We have seen it throughout the history of art through pictorial, in the private life of the artist, in themes, etc. they are called SymbolicProhibitions. These prohibitions are rooted in the modes of subjectivation and the epistemological platform on which individuals find themselves. It is not correct to name incestuous relationships in the royal family as something prohibited —and therefore, that should be censored—, we would be puttingourepistemologicalplatformon a completely different one without considering the modifiable historical systems (Foucault, 1996, p.19 ). For example, the idea of sexuality and gender identity is prohibited in Russia at the level that national artists accept this ideology for the survival and integrityofthemselves,evenmodifying DeLorena,C.(1642)PuertoconelDesembarquedeCleopatraenTarso
NewMagazine,Madrid,no.80. artisticworkstomeettherequirementsoftheirregime.Clearlytherewillbethosewhorebelagainst theseconvictions,but,ingeneral,itbecomesaproblemofthemajoritypopulationsincereformsand laws are passed tocontinue with thediscourse of what should besaid and seen. Let's just look atthe scenes that were removed from the movie "Rocketman" by Russia for containing scenes of gay sex and drug use —scenes that go against the ideals of their nation— because Federal Law 135-FZ of the Code of the Russian Federation on Administrative Offenses approved in 2013 that prohibits the dissemination of "homosexual propaganda" among its population, emphasizing the prohibition of dissemination among young people, since it violates the nuclear institution of traditional sexual relations (Excélsior , 2019). This case, although it is not an internal case of censorship, shows that whatisprohibitedinacommunityextendsnotonlytoitssubjectbutalsoaffectseveryone,turningit intoatabooofwhatisprohibited.
After this principle of prohibition, exclusion the separation of madness and reason, rejecting doesnotenterthereasonofpower.Itishandled with the dichotomies of Dionysian art Apollonian art because it is the systematic by the ideals dictated by The Institution Weltanschauung. Foucault mentions it as "one does not have the right to say everything" (1996, invisible what does not fall into the categories acceptedbecauseitdoesnothavethepowertosayorproduceit, cannot be legitimate. It was the idea that the of art was too absolute—therefore true and too deeply rooted in the idea of beauty, the to allow any other object that did not fit into considered legitimate. Just observing the artistic Basquiat, they were relegated as primitive their artistic techniques but because of their not relate to white masculine European cultural emphasis on white— although their production abstract expressionism. Domination is sought cisgender white in search of taking over the “Truetruth”,sotheassumptionoftherelative fordiscussion(Foucault,1996,p..15)(Ocampo,2002,p.1)
Whatisamasterpiece?(pp.7-23)Gallimard:Barcelona. Russiacensorsgaysexscenesfrom'Rocketman'andEltonJohnrages(2019,June1)Retrievedfrom:https://www.excelsior.com.mx/funcion/rusia-censura-escenas-de-sexo-gay,Nietzsche,de-rocketman-and-elton-john-rage/1316163F.(1872)Thebirthoftragedy.Madrid:NuevaOcampoLibraryE.(2002)Primitivismandprimitiveart.
Galard,Foucault,M.(1996)TheOrderofDiscourse.J.(1998)ACapitalQuestionforAesthetics.InGalard,J.Waschek,M.(Eds.)
14 IlustraciónreinterpretacióndeunaobradeBasquiat
ATOMS DON’T FORM US ANYMORE Everycombinationofwordshasbeenplayedout Theatomsdon'tformanymore,us,our love,ourunborndaughters…It'sallgone. DiscoElysium. M.I.FloresNachón 15 Emin,T (1998)MyBed
I’vebeenthinkingalotlatelyaboutthecompositionofthingswithinotherthings. Whatwewerewearenomore.TheRubik’scubeisn’tsolvingforusanymore.Theatomsdon’tformusanymore. Since I was a little girl I can remember writing as a cathartic method for me, something similar to therapy. The canalization of emotions, drainage. The sadder I wrote, the better the text. It came to a moment in which the sadness was too consuming. My hands felt numb while typing and my brain was just blocked. I had to train myself to continue writing through the sadness. Write with no emotion.Iovercamethatsadnessandwritingbecamearoutine,partofmyeverydaylife.Anactivity Iwoulddoeveninautopilot. SometimeagoIwastalkingabouttheillnessesthatwedon’tacton.Justassomeonewithsomekind of attraction towards animals, that controls the urge. I am not acting upon my illness. Since my atoms broke apart I’ve been listening to this tiny voice, I’ve been feeling it right behind my ear, a little reaper dressed in black, tangled between my curls. He is right there playing chess, whispering quiteentertained.Imbackinthenumbingsadness.Iwon’tactuponit.
Separations and breakups. Make-ups and illusions. I’ve gone through some, resulting in what we were,wearenomore.ThismonthCatárticadecidestopresentThoughts,somethingasabstractand dangerous as the bundle of words tangling in our heads. My mind is a mess at the moment, and to write about thoughts -and even more, write something about thoughts related to the art world- is a challengeI’msureIwon’tbeabletosucceed.I’lltrymybest,Idon'texpectitthough.
There’snoreaper,novoice,noyou,nome,nous. Mis pensamientos están tan enredados como el segador, tan profundos como mi tristeza adormecedora, tan intensos como el más triste texto mejor escrito. Google: ¿Cómo combinar todas estaspalabrasentrelazadasconelarte? Everycombinationofwordshasbeenplayedout. 16
We’ve been fed that art is supposed to be felt, well now, this is exactly the type of piece that was felt way before it was exposed. My Bed is a universally relatable bed, as in “been there, done that”, as in “this is the bed we used to share but not anymore because there is not even a we”. My Bed, not only depicts the weltanschauung and the paused and painful zeitgeist, but it also represents the most universallysubjectiveexperience.…us,ourlove,ourunborndaughters…It'sallgone. Itisallgone.
MyBed(1998)byTraceyEminisconsideredtobeoneofthemostimpressiveformsofartinthelater centuries. Opening theXXI with anasty,smelly, stained, alcoholic vision of post-love, of theendof a composition. The Decomposition. A rough break-up and an artist going through it. In this case, her sadnesstookhertostayinbed,drinking,numb,un-numb,feeling,staining.
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Because yes, up here time is encapsulated and governed in different ways, it is measuredbasedoncircularparameters,sowecansaythatitisbefore,butalsothatit isafter,andatthesametimesaythatitissomethingelse;aseathatremains But just as the night adorns itself with gifts and magical songs, in the same way it threatens to sink its fangs into our necks. At each false step, thousands, hundreds or sometimes dozens of eyes thirsty for life and fantasy, play at being Octavio Augusto and Marco Aurelio. We, then, have an obligation to walk on our fire, even if it means that it may go out forever; we are obliged to share the fire with people, even knowing whatwillhappentousintheend.
REFLECTION PRIOR TO THE 8 PM SHOW VíctorRivera 18
There are many things in this that can drive us crazy. One would have to think, for example, of: repetition, which is constant madness; predestination, which is the most fearsomeofknowledge,whichinancienttimesansweredtotheoracleofDelphi;Let's also think about the planes of consciousness, what is worse and more unpleasant to feelthanknowingthatoneselfhasbeendeceived?Whydoweacceptthelie?
I am in the middle of the forest, the place where dreams are born and the veils of fantasyareopenedduringthenight.Therearenolibrarieshere,nosupermarkets,no internetand,infact,ithasn'tevenbeeninvented.
Sometimes I'm small and mischievous and they refer to me as Puck, and other times I'm Theseus, Lysander and even Demetrius. The platform is always surrounded by the eyes of the forest, but behind those eyes there are some strangers, who will observe us from a different time, and here comesthemostterrifyingofall: We will be seen by other eyes that will inhabit the future, many are immune to our time; however, what they believe is that they are the ones who are looking at us, they will never suspect that we are lookingatthemfromthepast. [ENTERPUCK] “Here comes my messenger. Well, mischievous spirit! What new nocturnal now prevails in this mysterious grove?”
What part of me is aware of everything that the magical Night of San Juan represents? What part of me recognizes that Shakespeare unknowingly dictated the history of the set design? Because I already live in many faces and several faces already live in mine, that is why, although time is circular, it is always unpredictable, nothing ever happens that has been seen before, hence it is perhapsmorefaithfultoitsstorythanlifesame.
Ilustrationby:ArthurRackham(1908) 19
I'm probably not making myself understood. After all, life here is a breeze and it's hard to keep your ideas in order. Everything is always born in the same way: we open the cover, we read from side to side, and then we memorize everything, this being the first symptom of empowerment. It is as if there were an internal force in the paraphrase, a greater meaning in the action of saying what one didnotoriginallysay,fromthereonearrivesatinternalization, theconflictwithoneself,becausewe are no longer children to enter and leave fantasy requires preparation, and we accept in this tenor ourparticularmadness. On that, it makes sense that there is an inherent perversion in the ability to control the creative planes. Yesterday, Victor thought about his unfinished life after college, but in two seconds, I won't even remember his name. In two hours, I'll probably dress like him again, walk like him, but then whatpartofmestaysinthewoods?
Have you ever wondered where the phrase "It lit up my head" camefrom?Itisawell-known phrasethatreferstothefactthat an idea has come to you, we have even seen visual representations in cartoons such as Looney Toons or Tom & Jerry. I had not really given importance to the origin of this phrase, it is of colloquial use and does not have to be explained sinceitistakenforgrantedwhatitrefersto.Nevertheless,Igave myselftothesearchforit.Notbeingareligiousperson,Ididnot associate the idea of being "enlightened" with God, but it is more intricate than it seems. That's why we need to go back to theMiddleAgesandtheimportanceoflightandcolor.
DIVINE ILLUMINATION
I don't blame you if you associate the era with darkness and total human ignorance, I too was a victim of that proRenaissance propaganda. In itself, it is to be expected to have thisideasincemanytechnologicalandtechnicaladvanceswere made in the following Eras. However, if we look at it from an artistic point of view, it was a historical moment that has given us some of the most spectacular cathedrals, literature so important that it is still being analyzed and exceptional paintings considering the conditions of production; it was a 20
RossannaHuerta
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luminous era for the arts. It may not seem so at first glance, since the proportions, the use of shadows and color were still verylimited-bothinideologicalandmaterialmatters-butthey had the same objective, to represent the beautiful. And this is what Thomas Aquinas, and other philosophers, will elaborate intheirtreatisestohelptheproducertocreatebeautifulimages inaccordancewithGod.Toachievethisyouhavetofollowafew simple rules: to achieve proportion, integrity, clarity and luminosity. As can be deduced from the words of Dionysius, the beautiful is constituted by splendor and by due proportions, in fact, God affirms that what is beautiful is the cause of the splendor and harmonyofallthings.Therefore,thebeautyofthe body consists in having the limbs well proportioned with the luminosity of the proper color.
ThomasAquinasinSummaTheologiae(II,145-2)
Claritas,orclarityandluminosity,canbetracedbacktovarious civilizations that identify God as light, we have Baal for the region of Asia Minor, Ra in Egypt, Ahura Mazda of the Zoroastrians, Helios and Apollo for the Greeks and many more. Thatiswhythepersonificationsofthesunleadnaturallytothe conception of the Good and the Ideas. The example that we could better understand would be that of Apollo, who is not only considered the God of the Sun -in some versions- but also God of the fine arts, divination, music and medicine. Thus the philosophical framework of Neoplatonism is best exemplified by the fact that "the light that shines on matter can only be attributed to the reflection of the One from whom it emanates.
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Which I find all the more curious considering that the phrase continues to contribute to the dichotomous system of thought by continuing to reinforce the idea of good=light and dark=evil, and that is reflected throughout oursocialsystem.ItiswhatNietzschedefinesastheApollonianandtheDionysian,everything that is the norm and right is categorized as the Apollonian, while that which departs from it, becomes the undesirable and the Dionysian. It is possible that the interpretation that I have given to the phrase is excessive but at the end of the day I believe that sometimes it is necessary to question the origin of the words and phrases that we use from day to day. The word is more powerful than one could ever imagine, but that is not why I am demanding that you stop using this phrase, on the contrary it allows us to have a better understanding of the world and how a certain way of thinking has been reinforced over the centuries. Eco,U (2004)Lahistoriadelabelleza PenguinRandomHouseEditorialGroup
God is identified with the radiance of a kind of luminous current that runs through the whole universe" (Eco, 2004, p.102). The simple beauty of a color comes from a form that dominates the darkness of matter and from the presence of an incorporeal luminosity which is reason and idea. From this it follows that, of all bodies, fire is beautiful in itself and occupies among the elements the placeoftheidea;itisthehighestbyitsposition,alsothe lightest of all bodies [...] it is he who in a principle possesses the colors and from the other things receive theformandthecolor.Heshinesandshinesbecausehe is an idea. Things inferior to him, annulled by the obfuscation of his light, cease to be beautiful, because theydonotparticipateinthetotalideaofcolor. PlotinusinEnneads(I,6)
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Directed, written and co-starring José Salamanca, Mandilones al grito de Guerra is a refreshing and funplayinthewhitestsenseoftheword.Withinthe same flat, we get to know the five funny characters who turn upside down the epistemological platform thatcanbedescribedusuallyasmisogynistic,sexist, and patriarchal; and in a way the show continues to be, and perhaps in the lightest sense of the word, criticizesit. Antonio, a dedicated husband, has been doing the housework since a tragic accident at work, while Melania, his wife, is in charge of wearing the "pants" in the relationship. Adopting attitudes that have often been presented to us in the traditional, and very aggressive, family situations of the Mexican home. Something very typical of what corresponds tothe'50softheAmericanpostwarperiod. In a definitive power relationship, Antonio finds himself trapped in the frustration of being the one behindtheapron.HisfriendJavi,whoisinasimilar situation within his relationship, helps him clean the house during a night full of small catastrophes ineverycornerofthehome.
CHANGING PERSPECTIVES:
M.I.FloresNachón
The light humor of the show is undoubtedly its best qualitysinceitbringsusbacktohowrelaxingitisto laugh at something that does not cause discomfort. We are subject to political, mocking, critical, black comedy, and the fact that we can laugh at an innocent joke about a character's last name, or about the clichés in women's songs, is really - and ironically-new.
Without a doubt, I reiterate the fact that War Cry Mandilones allows us to forget how ridiculous the gender roles that have been assumed in society are, and as I mentionedbefore,itwillenableus to mock - and in a very reflective way - putting upside down the power relations, the patriarchal systems and the positions that wereassignedtous.Afterall,itisa play that I would undoubtedly recommend.
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Artists and writers Antonella Guagnelli Ernesto Ocaña María Inés Flores Victor Rivera Rossanna Huerta Magazine Director María Inés Flores Nachón @notae stethicallypleasing maines flores@live.com Vice director and Cover design Antonella Guagnelli Cuspinera @antonella gc antonella.guagnelli@gmail.com Head Editor Fernanda Loutfe Orozco @ferorozco ferlorozco@hotmail.com Editorial Design Junuen Caballero Soto @junuencaballero junuen.caballero@gmail.com Social Media Antonella Guagnelli Cuspinera @antonella gc antonella.guagnelli@gmail.com Diana Carolina Gomez Ortiz @dcgo98 diana.gomezoz@udlap.mx Emma Patricia Zamudio Salas @emma.zamudio.92 emma.zamudioss@udlap.mx
