Mario Navarro's solo exhibition at Contemporary art Museum in Santiago de Chile
by Rodolfo Andaur
Concealment, what is refused and skepticism, in its most vindictive sense, intercept the aspect of these proposals as a key clue for visiting and understanding the resistance and political sense present in the artist's current interest in the occult sciences. Then, as in the strictest esotericism, Navarro’s works should be analyzed as illusions, as they intend to be understood by a cognitive function looked for by language, memory and sensory perception. But these works can be considered as significant beliefs that alter the manufacturing we have studied on the mythical and the evanescent. For several good years the emphasis of our culture has been imbued in those mythical beliefs that spread uncertainties, which look out at an unknown future. Nothing could be more successful in placing ourselves before the surprises waiting for us in all these alloys that the construction of art itself has experienced and that seems to always go beyond what is logical.
|Tags||conceptual, digital, interactive, participative, political|