A Possible Appraisal
(…) Rewriting, speeches, appeals, calls, collective movements, micropolitics are the terms that, as a contrast, come to my mind when crossing the threshold of Galería Senda to wander about the device headed Hacia el silencio (Towards Silence). The exhibition by Cuban artist Glenda León (Havana, 1976) may be visited until July 25 in Ciudad Condal.
Broadly speaking I can say the show is perceived as a scenography for a museum, or simulates a museum “scenographed” in a private gallery, rebuilding visualization similar to the typical archeological research (…).
Among the questions it gives rise to are the correspondence between the discipline the cohesion in the presentation of objects in the exhibition space may have and that implied in touching topics like temporality, and the rituality entailing groups having to do with how, where from and what for are our individuality and our identity built. All of them (time, ritual, group, body, race, gender) are structures based on a fiction or a political pact.
Minimalism and literality to question these pacts, these fictions. Austerity and selection of resources, (…) all resulting from a minimalism erected as an act of resistance to showiness and technological gadgets frequently used in the discourse of contemporary art, whether of a social nature or of any other type: it’s all the same. (…)