En el Jardín donde somos perros is the second individual exhibition of the artist Bayo Álvaro in CDMX. This show brings together a series of paintings, ceramics, installations and videos, where the artist poses a trinomial between plants, bodies and dogs. The pieces shown are connected by reflective threads that seek to confront Western metaphysics through the queer theory and the Buddhist thought of Anatta, which dislocates the belief in the self and the claim of individuality of each subject. ​

 

The exhibition presents an overflowing constellation, the room contains objects and themes that the artist has recently assembled. In itself, the pieces are an invitation to play like a dog in a garden. Although the Renaissance gardens were related to the Edenic and the fall of man into sin, the pieces vindicate what we know as sin by accepting our intense human condition. Although this is not an invitation to sin, neither is it a binary reading between good and evil, but rather the sin that has deprived us of gardens is accepted as the very nature of living beings. A regression to our instincts, like the same dogs. But, at the same time as a Renaissance garden, the exhibition awakens memories through images, ceramics and plants as if it were a journey through scenes of the artist's memories that reverberate in the viewer, seeking to transform personal memory. in collective. ​

 

Whether from a process of sexual acceptance or the moments where affective relationships begin or end, the saturation of experiences cover others to form a collage of experiences that will end up spinning. The artist proposes a new garden that breaks with the idea of ​​paradise, creates one where worldliness unifies us. Thus, the Anatta is activated to create unified species, memories and moments of a collective place where we can be free as dogs, playing in this new garden, where we can want, love and be as we want. ​

 

Text by Diego Olmos