XAR - Obsidian Dream

Inside the famous Pavilion of the São Paulo Art Biennial, the young Mayan Edgar Calel is no longer a body, an immutability imprisoned by the framework of modern white architecture. Very white. He thus becomes air; multiple, ungraspable, uncapturable. “Sharpening words with my eyes”, he offers us another possibility to reflect upon the existence of beings and their capacity for representation. Now that we are facing Calel, we need to de-calibrate how we locate ourselves in time and space. Inside the famous Pavilion of the São Paulo Art Biennial, the young Mayan Edgar Calel is no longer a body, an immutability imprisoned by the framework of modern white architecture. Very white. He thus becomes air; multiple, ungraspable, uncapturable. “Sharpening words with my eyes”, he offers us another possibility to reflect upon the existence of beings and their capacity for representation. Now that we are facing Calel, we need to de-calibrate how we locate ourselves in time and space. Inside the famous Pavilion of the São Paulo Art Biennial, the young Mayan Edgar Calel is no longer a body, an immutability imprisoned by the framework of modern white architecture. Very white. He thus becomes air; multiple, ungraspable, uncapturable. “Sharpening words with my eyes”, he offers us another possibility to reflect upon the existence of beings and their capacity for representation. Now that we are facing Calel, we need to de-calibrate how we locate ourselves in time and space. Inside the famous Pavilion of the São Paulo Art Biennial, the young Mayan Edgar Calel is no longer a body, an immutability imprisoned by the framework of modern white architecture. Very white. He thus becomes air; multiple, ungraspable, uncapturable. “Sharpening words with my eyes”, he offers us another possibility to reflect upon the existence of beings and their capacity for representation. Now that we are facing Calel, we need to de-calibrate how we locate ourselves in time and space.