Arte en México

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Raymundo Sesma. Iconoclasta


Nowadays, it is impossible to consider contemporary reality if not in terms of repeated trauma. Such trauma may take on the aspect of dark forces (AIDS, viruses) or crises (crime, poverty, a welfare state fraught with shortcomings, the instability of social contracts). The result of this has been reflected in the fall of ideologies and more. It is curious to note that throughout the world, once an ideology has abandoned the social field, monuments to the figure most identified with it, traditionally gracing the Town Square, have been destroyed. There have been numerous cases (the former USSR, China, Iran, Latin America) where a sense of repulsion towards the image of power has been channeled against traditional monuments as simple, direct icons of cohabitation between society and ideology that has ceased to exist. And this has always occurred in those most public arenas, the Town square. With Sesma, it is important that we get into the habit of not separating history from the present. As we can deduce from Yvon Le Botís book Sub-commander Marcos: the Zapatista Dream. Only a few years ago in San Cristobal de Las Casas- which happens to be the same Sesmas birthplace among the ten thousand people celebrating five centuries of resistance, there were those who were intent on tearing down the statue of the townís founder Diego de Mazariegos, a feat they would ultimately pull off.


Citta Ideale I, 1997 pigmenti naturali e resina su tela 162 x 200 cm.

Citta Ideale VIII, 1997 pigmenti naturali e resina su tela 150 x 225 cm. Dittico



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