Catártica: May '22 by Catártica Revista

May 2022

No. 3

Vol. 5

Falero, Luis Ricardo, (1878), Witches going to Sabbath, [oil on wood]

Buymeacoffee.com/catartica

Witches going to Sabbath

AGC 5

Isidro Victor Rivera

Between Life and Death Daniela Colunga Metus Daniela Juárez

13 -

Urs Fischer and Instagram

Rossanna Huerta Full and Empty

M.I. Flores Nachón Not everything is Delacroix

Rossanna Huerta

Eyes wide open M.I. Flores Nachón

Falero, Luis Ricardo, (c.1880), La Visión de Fausto [óleo sobre madera]

Witches going to

SABBATH A.G.C.

Within the representations of the occult, dark beings, and gloom, many of the great protagonists are witches. The painting Witches going to the Sabbath or The Vision of Faust (1878) by the Spanish artist Luis Ricardo Falero (1851 - 1896) is a great example of this. The scene that is formed from what looks like a storm of naked witches composing a coven, generates a cathartic experience that empathizes with the feeling of ecstasy felt by the characters within the painting. Falero exhibits a spiral composition that gives his work absolute dynamism and invites the viewer to join the coven presented in it. The witches' disposition also refers to beginnings and endings, as the representation of the snake that eats its tail in an infinite cycle,

the age of the witches shows us the path between youth and old age, as the old witch who escapes from death and pursues the life of a young woman that in a few years will take her place. The several characters represented in the painting, aside from helping to give rhythm to the composition, are symbolic elements that tell us about the mysticism and esoteric practices that witches were typically known to perform. Among these, in the center of the painting, below the witch who stares at the viewer, is the billy goat, an animal representation of the devil or evil, a figure that refers to the pagan god's cult of fertility. We can also find a black cat, a reptile, the skeleton of a pelican, brooms where the witches fly, death, and a bat that covers the moon, an image that also appears in the painting The witches' festival (1880) by the same artist. Something interesting about this painting is the appearance of a man or warlock who accompanies the witches in their ritual, a character that usually does not appear in the portrayal of witches' covens. The background, the flashes of light, and the clouds create an almost peaceful and dreamlike atmosphere, which together with the cloths and fabrics worn by the witches, are reminiscent of the classical cloaks and their movement to the treatment of the fabric during the Baroque. Luis Ricardo Falero was an artist not well known in Spain due to his inclination to paint nudes, despite this he was popularized in England, France, and United States, currently the painting is in a private collection.

Falero, L., (1878), Witches going to the Sabbath, oil on wood, private collection

ISIDRO Victor Rivera

You arrived, Isidro, three nights ago, when the dogs and the roosters warned of your steps. You came as lost, limping bloodied between the walnut trees. First I thought I was dreaming, because neither God nor the devil set foot on these lands, then you fell to the ground and I spoke to Epifanio to help me get up and to Lupe so she could light the ocote and prepare your bed. I didn't think you were capable, Isidro, of getting up then and I certainly still can't believe you've managed it. Never in my life had I seen a man run from death. The blood that gushed out of your flesh hit the ground every so often, as if they wanted to erase the traces of your steps. Lupe washed your wounds that healed faster out of sheer pride and the next day you were already at the table eating a plate of ammunition with such pleasure, although so calmly, that no one would have guessed the days you hadn't eaten. We then walked down the cobblestone path carrying the sun on our backs without saying a single word. After a few hours with our feet in the waterfall we picked up a few tents and returned to the cabin listening to the same crunch of the stones in our boots. Neither of us said anything then.

At nightfall you tried to leave, but Lupe wouldn't let you. Then he told you about thewitches in the walnut trees and Epifanio insisted that it was time for the coyotes. I didn't say anything, God knows why. I wanted Lupe and Epifanio to ask you where you had come from, who had hurt you and where you had left your family, but one man's things don't matter to another man, that's how it's always been here. Hearing his words you left your hat on the table and looked at them with a sad smile. I remember you said thank you and went to bed after changing your bandages. "I don't want to bother you," you said countless times, but Lupe always answered you in the same way: "It's no bother, Isidro, you'll be able to leave tomorrow, what matters now is that you take care of your wound, that's what urgent”. The next day, you were the first to get up and you had already gone to get the eggs from the barnyard for breakfast. You fed the dogs and also the pigs, even though no one asked you to. Lupe made breakfast while Epifanio told you the stories that he knew about the family, about how just a few years ago we slept glued together in my old boss's little office, back in Comitán, about how we ate the meat of the cacomixtles that we hunted when they got into to the chicken coop, and little Isidro. His name was Isidro like you. He died on us one day just like that. My comadre said that the witch had suckedit because that day she forgot to put the brick in the fence and that the dogs didn't say anything either because of the scare. But I didn't want them to talk about that anymore. That's why Lupe what Epifanio didn't know because he was still a kid. He told you that Epifanio used to get very sick as a child, he cried, but neither I nor Lupe knew what was wrong with him. That's why we took him to Father Benito, because we didn't want him to have the same fate as Isidro, may he rest in peace. He was the one who saved us. After those days without memory, we went every other day to listen to Father's mass and it was also because of those forgotten dates that these lands were given to us, blessed lands that still harvested. At first we kept going to thank God, but then we stopped going who knows why. Maybe we were afraid that what they had already given us would be taken from us and that is why we always stayed there. But don't get me wrong, I told you, we are his children and he has also abandoned us. Because later we did return, but as much as we asked for forgiveness, God did not give his arm to twist. Also because he gave us that gift for which so many are killing each other, but we bit his hand and for that reason nothing grows anymore and also the animals starve to death. Nothing happened here, until you came, Isidro. That same night you insisted on leaving, but Lupe, who had gone to the market in the afternoon, told you that she had heard that some bandits were nearby, and Epifanio told you that later at that time you can hear the noise of hanged men and guns.

"Besides, the nahuales are just hunting any soul that passes through the trail, better stay a while longer, Mr. Isidro." “I don't want to bother you”, you said as usual, but just like the night before, you changed your bandages and went to bed. There was no longer any wound on your skin, but I didn't say anything either. It was at dawn the next day when those who wanted to kill you arrived. "We are looking for Isidro Sandoval," they said. "We came to shoot him because he killed Don Manuel's godson." I remember that they said that they came to scare your sisters, but that you, very cowardly, left without telling them where. I didn't know you, but Lupe and Epifanio already loved you like one of the family, that's why I didn't tell them anything. They pointed some guns at me and they went into the house, but those wimps couldn't find you. What they did find were your boots, which almost cost me my life. I told them that my old employer had given them to me, “if you don't believe me, go and ask him. Take them if you want and you will see”. After that they lowered their pistols and left on their horses, throwing your boots in the poop of the pigs. We returned to the house without saying a single word, even Epifanio, who cried easily, lost his voice. We did not dare to go out for fear that they would kill us too and we thought the worst, but after a few hours you came in like nothing happened with your boots in your hands, covered in shit and mud. La Lupe began to cry afterwards. Damn Isidro! What did you do? Is it true that you killed that man?” but you didn't say anything. You put on your boots, put a gold coin on the table and turned around. Before closing the door you said, "sorry for the inconvenience I caused you." When you closed the door, Epifanio bolted after you and Lupe started bawling for her son. I left the cabin and with a shout made Epifanio get in. We were face to face again, Isidro, like in the waterfall, but this time with the shit and the mud on our feet. It was there that you told me everything that was needed. You said that you were from San Cayetano, and that your father had lands so large that you yourself didn't know how far they went. You also told me that your father was with Don Porfirio and that was why these puny people hated you so much, because while they took your land from you, no one took your bread. “And why did you kill the godson of this Don Manuel?” I asked you. You told me his last name was Domínguez and that's why he never let go of your skin. “They say they own the place because when we arrived they were already there. Especially her blood ran cold when she found out who I was going to marry. Once we punched each other, but I beat him because I took out two heads. That is never forgotten. That's why he wants me dead."

I convinced you then to stay until night and to take provisions for the journey. "I'm going to Mexico" you told us. "That's where the unfortunate will not think of looking for me." You said that when everything was forgotten you would return to the Hacienda to see your sisters get married and to marry yourself with the one who was going to be your wife. La Lupe put some tamales in your leather bag and filled a bottle with the pulque we had left; He also returned the coin you had left on the table, but you returned it to Epifanio. When you left, you went back through the walnut trees, where you had fallen a few days ago, and we heard your voice for the last time

"sorry for the inconvenience and God bless you." You arrived, Isidro, three nights ago and today, after three years, it has rained again.

htaeD dnA

Between Life

Daniela Colunga

What happens when our heart stops beating? Does the afterlife exist? Does our soul fly and leave our body to inhabit another, another life, another story?

These are questions that we have asked ourselves at least once but never have, nor will we ever have the answer to in earthly life. As an artist, I like complicated, transcendental, taboo, or polarizing subjects and Death is one of them.

Going back to the answer, or the search for it, when you lose a loved one… having that experience can bring us closer to the answer, but it still doesn't give us the complete answer. I don't like to classify it as "good or bad", or "positive or negative”, the most essential thing in my works is the perception that is defined by the interpretation. Expressing sensations and emotions leads me to communicate them through abstraction, how do I imagine the transition from life to death? How would the colors, figures, strokes, and rhythms be? A work in two planes, in the foreground the white background as the birth, where there is no history. It is a sheet of paper ready to be written, to begin to live it. In the second plane, starting with the colors and tones, we take the earth, defined on a color scale by the changes, "ups and downs" that earthly life has, from the light tones where we have happy moments, pleasant, to the darkness where we do not see the way out, but we mature and learn. If we continue with the figures, they are not defined but increase the composition, rather it is composed of strokes, some curved and others straight, some soft and others hard, where life is like that as a whole, to my interpretation.

Now, if we analyze the transition from one canvas to another, the strokes transform from softer to less straight, precise, and aggressive, with light, bright tones that ascend and splash, it is a small abstraction of "life after death", "paradise", "calm and happiness" in an idealistic point of view. In the end, the work is composed of two canvases, where one cannot exist without the other, where the composition is collected and interpreted by both pieces, from the particular to the general, its focus begins with the transition and is split, divided and the unknown is not resolved because the void is also part of the work itself.

"You cannot dissociate birth from death, creation from destruction, good from evil. Therefore, any art is somewhat dramatic which lies between the two extreme poles of birth and death, just as life is drama. This is not sad, because to be alive means to be mortal, it means to live." Paul Virilio

Transición, 2021 Action painting de acrilic on canva. 50 x 100 cm $ 7, 700 mxn @danielacolunga.arte danielacolungaart@gmail.com

Daniela Juárez

The Latin origin that is not a neonate term but a way of referring to the Greek word phobos from which we now get the word "phobia".

There is a fairly wide synonymous gap between fear and phobia, since fear will never be the first cause but rather a consequence, represented as a reaction to a stimulus, and the phobia personifies countless subjects that produce high amounts of emotions, among all of these, fear . The fact of taking a daily attitude as a center of study can be questioned and yet it remains not fully understood, constantly evaded by those who are the object of the unresolved past and in its paradoxical parallelism, the source of many desires and pleasures.

Fear dictates the path of safety, said by the science that governs the strict standards of medicine. Fear is an emotion that is born from chemical discharges in the body, from which, if we are lucky in action, two options arise that subject the fearful subject to a difficult decision that must be made in microseconds, in an amusingly subconscious way: run away or face it.

Without fear you survive and there is nothing closer to the truth. How to contradict what has kept us from taking a dark path with no certainty of the outcome? How to exile the feeling that makes me believe that I make the right decisions when I move away from the unknown?... Fear is that source of inspiration to embody and create feelings of unpleasantness that leave a mark that travels through time and foresees something that represents a potential risk, causing a step back to the being that inhabits. He makes security cover the walls, close the doors and cover the windows, it's safer to be inside. It is safer to survive. The magnitude of what causes us fear is usually greater mentally than it appears in reality. Like a flash of intense light coming from a small car, capable of dazzling and being showy for a moment and quickly unmasking the origin as simple and tangible as a headlight whose existence requires no explanation. Under the two previous premises then I allow myself to propose the following: security has the price of survival, the fee for remaining alive through time, in advance of what we believe is the future, with adherence to what is safe. Surviving inside the wretched jail that dresses up as a home, supposedly covered in well-being within those walls we call security, built on the foundation of fear, they are plagued with just the opposite. Plagued by insecurities and introjects for the most part, upholstered with stereotypes and learned behaviors, stigmas and trampled pasts belonging to someone in whom ideas were forged that became a lifestyle and were systematically transmitted to build the human being who prefers to nest in security of insecurity and survive. Why nest within security to survive? why not prefer to inhabit the cradle of bravery? confront the dazzling light that lasts a short time and clarifies the vision to a simple and tangible origin, and overcome the one that separates us from a goal to conquer: fear.

Urs Fischer and Rossanna Huerta Urs Fischer in Mexico! Undoubtedly the new exhibition mounted at Museo Jumex has been a success, with thousands of visitors so far and hundreds of photos on Instagram marking the event. However, we should ask ourselves if it is really a thought-provoking expo or just a nice place to take our next selfies. I visited the exhibit the first few weeks after it opened, the place was packed with people and the lines lasted approximately an hour and a half to 2 hours. The piece located in front of the museum imposes itself as an almost architecturally comparable space between the surrounding buildings and gives the sensation of two bodies emerging with each other in a deep embrace. Once you approach the entrance you can see a small introductory text to the exhibition and it explains the reason for the name of the exhibition "Lovers #2" and why they placed that sculpture in front of the museum.

The Lovers #2 (2018)

Once inside, you are taken to the upper room where you are given a short explanation of what the proper tour for the exhibition is like, however, something that is quite lost when doing this is the introductory text to the first room. The guard mentions before exiting the elevator that you must enter the room on the left side, follow the works until you exit on the right side, go down the stairs, and continue with the same process until you finish the three rooms. While giving these indications, you miss the moment when you can move the public to the explanation of the first room because their attention is focused on the first interactive work of the exhibition: a tongue that protrudes from the wall, and that moves by means of a motion sensor, leaving forgotten the room text and a pamphlet of activities that is behind the viewers. I think it is necessary to emphasize this introductory text as I observed that several viewers did not know what they were watching or why they were placed there. Fischer wants us to enter a Garden of Delights like El Bosco, of carnal pleasures, to let ourselves be carried away by our impulses and imagination. We must see the detail of the works, ask ourselves why he used X or Y material for the work, give us the possibility to appreciate the work with all our senses and play with perspectives, sizes, shapes and colors.

Noisette (2009)

Melody (2019)

From there we go down to the second room where the museum misses an excellent opportunity to invite us to be part of the work. I do not say this because it allows us to play inside the rain that Fischer has created, but because it could be a great opportunity to invite the viewer to enter the mind of the artist with the music that inspired this installation: Purple Rain by Prince and White Rabbit by Jefferson Airplanes. It is a beautiful installation that plays with the natural light and the room's space. On the floor is the second part of the installation, some mobile snails that move around the space. Although they are pieces that fill your visual space, I observed that, rather than appreciating the installation, the spectators preferred to take the time to look for the right pose for their next profile picture. Which made me reflect if really when an exhibition of the caliber that is the Jumex is planned, is it with a desire to generate Instragmable views, or is there really some educational/artistic purpose behind it. Undoubtedly this gives much more to talk about than I could put in a couple of columns of text because the answer will never be clear. There are exhibitions that are not as well known, due to the fact that there is no formal art education to understand the structure of an exhibition, this is coupled with the fact that the photographs do not make your social networks stand out. At the end of the day we live in a society of spectacle where we care more about what is perceived through the specifically curated images we upload to our social networks, and companies capitalize on this quality of our generation. There will be other exhibitions that will make some noise in the scene and among connoisseurs but will not appear in "Places you have to visit in CDMX 2022...2023...etc."

Finally we come to the last room where we find works ranging from pop-art to classic art reinterpreted. The central work, the silver rhinoceros is a symbol of humanity and its consumerism over the years. In the same room we find two pieces of piety. What pleases me most about these works is that it seems that they are ephemeral and that on each visit you will see their inevitable destruction.

Things (2017)

Overall it is a very interesting exhibition that I would visit several times, it gives the opportunity to see new details and to experiment with your imagination. I want to emphasize that I am not looking to criticize the viewer for going to the exhibition only for the interest of getting their new profile picture for their social networks, at the end of the day you can enjoy the exhibition from different perspectives. What I do recommend is to take the time to read the texts that the curators have prepared for us and seek to delve into the pleasures and sensations that the artist intends to generate in us. Finally, we have curated a special playlist based on the inspirations Fischer talks about so you can enjoy the exhibition and let your imagination fly.

https://open.spotify.com/playlist/57hqPgi166jRF qRQVqPIlG?si=RRsEqsTWTk2Gy8eFzbVQvw

Eugenio & Esthella (2021- 2022)

Chauvet, Elina, (2009- presente) Zapatos Rojos [Instalación/Performance]

EMPTY AND

FULL

M.I. Flores Nachón

A few days ago I was chatting with a non-Mexican friend, who asked me why all contemporary art in Mexico (or at least the one I keep talking about) was related to gender violence, my family asked me the same, I seem to talk too much about it. My answer was the following; gender violence is a trend, and not like what should normally be a trend, it is not the new sandals from Steve Madden or Harry's House, it is a growing issue, on everyone's minds, a constant threat and a present terror. First it was Ciudad Juárez in 1993, the deaths of Juárez, which were added to a figure that had not been counted, then hungry Mexico in its violent misogyny devoured the femicide 1 machine. Mexico is what it ate. Again, art is a response to our Weltaanshauung (thought system of the world), and our Zeitgeist (spirit of the time), carrying a discourse that reflects the functioning of our society. Our femicide machine. The art I surround myself with is art angry at a society that kills us and forgets us.

I AM NOT JUST ANOTHER SACK AT THE FOOT OF THE NATIONAL PALACE. Specifically, after the names that sound in Mexico today, and with the monthly theme facing fear -, I thought of writing about horror artists, such as William Blake or Francis Bacon, but I think that what they both did, is not comparable to the terror of walking at 12:00 noon, in broad daylight, with the keys hidden between the fingers and hurried steps to quickly reach a door that can be locked. I'm falling into paranoia, exaggeration and reality. That is why I will talk about Teresa Margolles, Elina Chauvet, and the recent appearance of rooms for rent.

1 Yolitzin Jaimes, leader of Las Revueltas, mentioned the term Feminicidal machine for the first time, when speaking of disappearances and femicides such as that of Lorena Elvira and Frida Alondra, respectively .

In 2016, Teresa Margolles, who was already recognized in the artistic world for her works such as What else could we talk about?(2009) in which water and blood were presented as detergent on a floor that only managed to stain more. Teresa explores the empty presents through death, disappearance and exhibits Pesquisas. A series of 30 enlarged prints of some of the posters of disappeared women in Ciudad Juárez since the 90's. From the enlarged prints and the mounting on the exhibiting walls, Teresa makes visible in spaces sanctified by aesthetic ideals something that had been made invisible and even forgotten, she plants on her walls something that does not seek in any way to be beautiful and that on the contrary, pretends to empathize and shout to deaf ears. What else could we talk about? If we live drenched in bloody rain, trying to mop our patios that only continue to stain more, painting walls that are covered with amplified faces.

Margolles, Teresa, (2016) Pesquisas [Instalación/Fotografías Impresas en ampliación]

On the other hand, again inspired by Ciudad Juárez, the most dangerous city to be born a woman, Elina Chauvet presented Red Shoes. Dedicating the work to her own sister who was lost at the hands of her husband, Elina in 2009 collected 33 pairs of red shoes that simulated an empty march. The installation subsequently traveled the world, collecting more shoes, more stories, more names. The silent protest, with drowned cries in the color red, allows us to keep the absence public and timeless.

Finally, in 2022 a movement was presented from the Mexican Assosiation of Stolen and Disappeared Children, making unoccupied rooms visible due to the disappearance of women in Mexico. Empty Rooms are offered on platforms such as AirBnB, with premises such as: “Unique experience in a beautiful room located in Tlapacoya, State of Mexico. The room has a clean towel, a computer, a dressing table with makeup, lotions, creams and Zaira's blue heels, which she has not used since she disappeared. Nothing has moved from the room since she disappeared

Nothing is out of place because everything is. The disorder is in the iddle that remains. The rooms are empty, and impossible to fill. Disappearance in Mexico is a trend, and art is responding like fire, the more firewood you throw at the hearth, the stronger it will burn. We live in the femicide machine, and we are burning. The voids are visible, and the walls are filled with their names.

https://suracapulco.mx/impreso/grafico/mujeres-contra-la-maquina-feminicida/ http://lapanera.cl/sitio/teresa-margolles-culiacan-mexico-1963/ https://www.animalpolitico.com/2022/05/cuartos-vacios-iniciativa-mujeres-desaparecidas/

NOT EVERYTHING...

DELACROIX Rossanna Huerta

I must deny that the great painters of French Romanticism are overrated, on the contrary, with several works they have repeatedly shown us that they are worthy of the praise they receive. Delacroix and Gericault are incredible painters for their expressive handling of their characters and the use of colors just right to set the stormy scenes they present to us. In itself, Romanticism is the rebellious son of neoclassicism, but not all of its works are characterized by angry violence, as is the case of Paul Delaroche's work, specifically "The Princes of the Tower".

Paul Delaroche, like his contemporaries, breaks with the strict neoclassical tradition and continues his training in the workshop of Antoine-Jean Gros. He has generally been described more as a historian than a painter, and this is because he tends to paint historical scenes that, compared to his neoclassical predecessor, have a slightly darker tinge to the atmosphere. This separates him from the primary authors we know for Romanticism since he does not let himself be completely carried away by the strong emotions he feels inside, on the contrary, he takes the time to analyze the pain, fear, and anger of his characters and manages to channel it almost exactly. His favorite subjects clearly focus on the historical reading of essential moments in English and French history, with great emphasis on faithfully capturing the details of the moment, including costumes, setting, and colors. From here we must turn to the work "The Princes in the Tower"...

In the first instance, what catches my eye is the child's facial expression in the center of the painting. Undoubtedly, it is here where his romantic sense stands out the most since he does not show us a stoic expression but rather terror incarnate. The author lets you know that the infant is in danger and probably there is a threat on the other side of the room that does not allow us to observe. From there my gaze follows the visual path that the painter shows us and is placed on the face of the second child, placed a little further to the right. Compared to his brother, we can see that the infant no longer has hope, he has lost any trace of fear, since he has accepted his imminent reality: death.

Although he tries slightly to comfort his brother by leaning his head and hands on his shoulder, he understands that there is no way to avoid his future, it is even an uncomfortable look as he seems to look directly at us. He doesn't invite the viewer to be part of the picture, even though he could be begging for mercy, he just looks at us with a bit of anger and disappointment, as if he is telling us "you will watch us die but you won't lift a finger". In fact, it even reminds me of the phrase "The truth does not sin but it makes you uncomfortable", and that is what the author seeks to generate: discomfort, fear, and anxiety. However, behind the painting, there is a historical event that marked the course of an entire country. This is the story of the disappearance of the sons of the late King of England: Edward V and Richard, Duke of York. A bit of context, Delaroche places us in the War of the Roses -yes, that War that inspired Game of Thrones-, just when Edward IV dies and is succeeded by his 12-year-old son, Edward V. However, Edward V is still too young to fulfill all the functions he must fulfill as King, so his uncle, Richard III -brother of Edward V- is appointed as protector of the Kingdom. Richard III takes advantage of this situation and positions himself as future King by planting evidence about the possible bastardy of his brother's children -and that the Parliament accepts-, locks up the infants, and takes control of the kingdom. In reality, it is not known what became of the little ones, from there several legends have been inspired, from that Richard III never sent them to murder, or even that they lived the rest of their lives in captivity until death by natural causes. The whole story is part of the wonder that is romanticism, although it is based on an important historical moment in England, Delaroche does not leave aside the mystery, the rumors, or the pictorial drama. Honestly, it does not disappoint at all.

Edward V, minor king of England, and Richard, Duke of York, his younger brother 1830 Oil on canvas Louvre Museum, France

EYES WIDE OPEN M.I. Flores Nachón

Come True (2020) Fotograma

This weekend I took the time to watch a movie with Ernesto, who has already written several times for Catártica. We decided to watch Come True (2020), a science-fiction movie, with hints of horror, or vice versa - I'm not quite sure. Both of us, chatting a lot during the film, fell squarely into the solution of it, and confused, we decided to give ourselves the time to digest it. On the other hand, not long ago I saw Eyes Wide Shut (1999) and with it, I was confused and to a certain extent dissatisfied. What happens to me many times. The movie leaves me hungry. I do not want to fall into evaluative, comparative, and dichotomies, so I will not criticize the films to classify them as good or bad, however, I will talk about how interesting it is without both films and the reflection that they allow me to make about each one of them. On the one hand, Come True has a premise that covers stories that, long before the eighties, had already been explored and exploited in the field of North American terror. The dreams that come true, and beyond the dreams, the nightmares that come to life. Sound familiar? Perhaps why the world-renowned Nightmare on Elm Street (1984) set a milestone on the subject. Again without trying to fall back on criticism of it, I consider that the franchise with Krueger as the protagonist promotes more of a terror towards an inherently evil character, without creation or accumulated origin, a shared evil, while in Come True, the terror falls in a character whose main activity is the existence in the plane of dreams, without more interaction than that, but powerful enough to ruin the nights of sleep. Understanding that there will be a confrontation, the characters decide to sleep and close their eyes to face the same creature, in different closed eyes, with origins that from my point of view could be different. It is not the bad birth of Krueger, but a bad creation, an accumulation of terror, turned into a shadow, and a breach of privacy. The opening of our dreams to a third party, who will see and judge in order to break us to analyze us like a written text awaiting review.

Eyes Wide Shut (1999) Fotograma

On the other hand, speaking of Eyes Wide Shut (1999) is a film whose plot is about the curiosity that killed the cat. An intention of sexual search and exploration that ends badly. The terror that I find in Eyes Wide Shut, does not fall on the visual or sound effects, but in a truthful reality. Harassment for a misstep, for a poorly formulated question, for having seen more than you should have seen. In addition to allowing us to enter a game that once again turns dreamlike, a series of events that are triggered by the confession of a dream. Fractured stability from a mental state, the slip of a few words that are sown from the unconscious, expressed perhaps as revenge or as sincerity in a relationship, reveals what at some point Freud called the dream distortion. A chase after the truth motivated by a disagreement principle, a secret that perhaps should have remained hidden. Without shame, I can say that Eyes Wide Shut is probably my least favorite film by Kubrick, however, I can well understand and appreciate it from this point of disfavor.

Addressing the monthly theme, I meditate on the most real fears. Beyond a monster that belongs to my nightmares, I like to think of construction of terror based on the two options that we narrate above, bad decisions, shadows that chase us, like the grotesque animal of our past, our disagreement with the reality and the dream plane, and the way in which they frame us with pins to analyze and break our dream deformations. Being studied for being scared, conflicted, stuck. Something real, far from a fantasy or from a plane other than touch, the terror that eats away at the head and forces us to keep our senses trained in order to activate a survival method, bringing our body to the climax of potential. Either you open your eyes, or the darkness eats you.

Dear Authors, @catarticarevista catarticarevista@outlook.com catarticarevista@gmail.com

If you are interested in participating in the magazine, you should take into account the following guidelines: All manuscripts or works must be sent to the official Catártica mail, with their corresponding translation into English or Spanish. All papers received will be submitted for review by the members of Catártica for their selection and publication. If the editor deems it pertinent, he may make changes and corrections in the writing and style of the manuscripts. The file must follow the following format: Microsoft Word Arial font Font size in twelve points The upper and lower margins should be 2.5 centimeters and the left and right must be 3 centimeters. The line spacing should be 1.5 The images and illustrations must be cited in APA format and in addition to sending them in the file, attach them in JPG, PNG or PDF format

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

Artist Scouting Rossanna Huerta Romero @itsrosehro rossanahur@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

Artists and Writers Antonella Guagnelli Daniela Colunga Daniela Juárez María Inés Flores Rossanna Huerta Victor Rivera