Sancta Sanctorum, en el Festival de Mayo de Guadalajara

Still_Produccion_Pintor_Sergio_Garval_Adriana

 

Now it’s time to wrap our fears in the night

And on the first day I’ll dress this city in flames

Paris in Flames, Thursday

 

(Guadalajara)Como cada año desde 1998, el mes de mayo fue un mes de fiesta en la perla de Occidente. Se trata de la décimo cuarta edición del Festival Cultural de Mayo, evento que reúne a distintas personalidades de una gran variedad de disciplinas artísticas; música, danza, pintura, cine y demás, todo enmarcado en el cautivador centro histórico de Guadalajara. Este año—para decepción de muchos (yo incluído) —el país invitado de honor fue Estados Unidos. Que aquí he de aclarar que mi disgusto con la elección no se debe al común argumento chauvinista de que “los gringos no tienen cultura”. Una cultura folclórica, probablemente no, y es cierto que mucha de la popular de nuestro vecino del norte suele ser desechable. Aún así, considero que existen muchas manifestaciones que, como expresiones del carácter de esa sociedad, valen mucho la pena (mi pequeño tributo a la cultura estadounidense está en el epígrafe que inaugura esta reseña). En fin, la cuestión es que, considero que estamos tan imbuidos y permanentemente en contacto con la cultura norteamericana—sea “buena” o “mala”—que hacer un festival en su honor podría salir sobrando. Pero hasta aquí con el asunto del invitado de honor.

Una de las sedes más importantes del festival desde sus inicios ha sido el Instituto Cultural Cabañas, el recinto cultural tapatío por antonomasia. En esta ocasión, el otrora Hospicio presentó la exposición de un hijo pródigo del arte contemporáneo jalisciense: Sergio Garval, nacido en Guadalajara en 1968 y egresado de la Escuela de Artes Plásticas de la UDG. Este año, y después de varios de ausencia, Garval regresa a su ciudad natal con Sancta Sanctórum, una reunión de la obra producida durante los últimos diez años y que el artista mismo ve como el cierre de un ciclo en su carrera. En ella, tapatío muestra un escenario post-apocalíptico donde las apariciones de figuras humanas se dan en la forma de “hombres desplazados”. Desplazados no espacial, sino espiritualmente.

Sancta sanctorum, en latín, significa “santo entre los santos” o “santísimo”; esta expresión es utilizada religiosamente para referirse al más sagrado de los lugares, donde se suponía se guardaba el Arca de la Alianza. Garval entonces, se apropia de este latinajo para titular su exposición ya que, en sus palabras, “la idea de la muestra es aquel refugio, aquel lugar sagrado en el cual todos nos refugiamos para hacer nuestras conexiones profundas; estas piezas surgen de este contexto sagrado, íntimo,  esa introspección que de alguna manera tenemos en nuestro espacio último, en el cual nos recogemos”.

Garval habla del “hombre desplazado”, casi haciendo referencia a la obra homónima del lingüista búlgaro Tzvetan Todorov, en la que reflexiona sobre su condición de exiliado voluntario en Francia y en Estados Unidos. Entonces, el desplazamiento de Todorov es netamente geográfico (el título original en francés—L’homme depaysé—se traduce estrictamente como “el hombre sin país”). Sin embargo, las devastadoras consecuencias de este desplazamiento en la identidad del sujeto son similares a las que se producen en el desplazamiento retratado por Garval.

Muchas de las pinturas de la exposición, así como dos grandes esculturas de madera (rubro en el que el artista tiene poco de haber incursionado) muestran a gente cargando grandes bultos de equipaje; maletas simbólicas con las que hombres completamente desnudos viajan a ese íntimo lugar, al Sancta sanctórum, pero donde ya no logran encontrarse a sí mismos a través de la introspección sino que, por el contrario, se terminan perdiendo en desoladores parajes mentales. Son hombres desplazados, porque se han perdido a sí mismos. En la era del consumo, el hombre se ha perdido en interminables complejos industriales que ocultan la luz solar, en desérticos paisajes plagados de esqueletos de automóviles oxidados, en montañas de objetos que ha ambicionado y que nunca utilizará.

La constante de la muestra es, como decía Garval, ese lugar sagrado, pero no como un lugar donde el hombre contemporáneo logra encontrar su naturaleza pura, sino más bien como un sitio que ha sido ya profanado por el entorno que lo rodea. Así, vuelto público hasta el más íntimo rincón de su espíritu, los hombres de Garval se quedan solos, contemplando sus desnudos y grotescos cuerpos, como lo hicieran Adán y Eva una vez expulsados del paraíso.

Sancta Sanctórum permanecerá abierta al público hasta el 30 de junio de 2011.

Instituto Cultural (antes Hospicio) Cabañas

Cabañas 8

Plaza Tapatía

Guadalajara, Jal.

AM

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