Continuum. Or the Appearance of the Parts and the Whole (Centro Andaluz de Arte Contemporáneo)

The imprint of Delcy Morelos is also profound. The dialogue and exchange through which she constructed her interventions have gone beyond what is usually established with material, sacred energies, and the spectators who allow themselves to be touched. The words and lessons that emerged during the time of coexistence and creation of Profundis deeply affected the sensibilities of those who were part of her team in Seville; there was communion in addition to collaboration. From that connection arises this collective exhibition, which aims to continue that initial encounter, to keep learning through creation, and to occupy spaces that have never before been opened.

In this room, being opened for the first time with an exhibition purpose and which once served as storage for the Carthusians, we present this collective show of mostly emerging artists, where different forms and sensibilities coexist, sharing a common starting point: the interrelation between beings and things, the power that comes from being affected by others. The works presented here, all created specifically for this space, propose a new conversation that allows each of these creators to be seen and known, while strengthening each other around their own forces and potential. In the reverberating presence of this room, each work represents a reflection that alters the voice of the Colombian artist and, at the same time, her persistence in time and space.
The works are individual, but their logic is collaborative. The production, born from personal concerns, crystallizes thanks to a collaborative climate among artists of different languages, ages, backgrounds, and cultures. The result is a coherent exhibition amidst diversity that, through the synergies of cooperation, transcends each individual work and reinforces the expressive, social, and political energy of Profundis.

This storage room no longer holds the provisions and supplies of a religious order, but it still retains its sacred aura, now linked to the natural world. Some works allude more or less directly to water, fire, earth, and air—the four elements of nature that, in another time and place, were conceived as the source of all animal and plant life. Others refer to nature from a human perspective, such as organic processes or cultural practices that naturalize visual, transit, and analog communication relationships. But all these works share a rejection of the division that humanity has caused with its habitat, with the natural environment, under the guise of a misunderstood progress, without memory and without foresight for the future.

Finally, Continuum or the Appearance of the Parts and the Whole establishes a dialogue not only with its spectators or with another exhibition but also between Europe and Latin America, between the "Old" and "New" worlds in which Seville and, specifically, this former monastery of Santa María de las Cuevas played an active role. It is a show that calls and seeks to unite, with a generous disposition, the echoes of a call to come together, one that recognizes we have experienced separation but that, nevertheless, insists on the possibility of meeting again. A dialogue that continues the one initiated by Morelos in Profundis, metaphorically carried on here by some of the works and, literally, by the artists in the exhibition, who, with their different accents, in a sort of dialectical continuum, give voice to an emerging practice that fights to appear, like life that finds its way anywhere, even in the Great Museum..

Javier Leñador González-Páez

a.r.m