The Short Way
Miguel Ángel Rojas
June 22, 2013 – March 2, 2014
We are facing two sacred entities: the coca leaf and the dollar bill. These facilities draw us in the tension generated by the clash of two cultures and ways of inhabiting the world that, when in a lost point of no-space / no-time and planes of existence that seek their impossible balance, create a collision mobilizing ambiguous forms of relationship resulting in violence, pain and destruction of life itself.
It is the devastation of a culture on the other. Is there perhaps another way, one maybe longer? The question has no answer, but the short way leads to self-destruction of the spirit of all possible worlds. It is the easy search of wealth, beauty, power, happiness, pleasure; the short way is the immediate solution to social conflicts, and the negligent handling of cultural difference.
The shortcut for fast arrival can be an illegal way, but also one filled of socially accepted manners, as the war and the spurious money of illicit trafficking that silenced all voices to buy the accomplice silence of History, in the “instant of danger” of the time of now.
This is a “territory of disappointment” that symbolically shows us the devastation of the cultural, moral and other life forms after the resounding victory of the spurious beauty of the short way.
In the “territory of disappointment” (which had once been a place to live and do live different ways of being in the land), marks the division between the culturally hegemonic world and other that barely mobilizes subtly brand, trying perhaps, to cross a border that was installed there in its artifice, but it is efficient to raise a heinous wall that prevents transit, the free flowing.
A racial and cultural border stands as a threatening wall that causes the conflict and the illegal trafficking of people, arms and drugs, for the good of the highest “sacred” entity that today governs us: money (the short way); which punishes any other relationship or cultural difference that stands on that path. Through this wall-blade presents the artist Miguel Angel Rojas, referring directly to the metaphor of the border between Mexico and the United States of America, the world is homogenized through its breakup.
María Belén Sáez de Ibarra