Crixto Xalvador

PALMA presents Project Room: The 'Untitled' of Crixto Xalvador, with the curatorship of Escombro.

If the ethos of the modern artist was marked by the tension between tradition and the avant-garde, the ethos of the contemporary artist tortures and delights in self-reference, social movements, hobbies disguised as bodies of work, but above all, the incessant need to establish commercial links with museums and galleries. He was born in 1980 and escaped from the jaws of a religion that is not predominant in Mexico. His early youth forced him to take charge of his beauty. He appeared in ephemeral and limited-edition gay magazines. He established himself as an emblem of eccentric fashion and hyperreal hospitality. He reigned in the places of eating and drinking that are inaugurated for the aspirational and dominant classes of the Metropolitan Zone of Guadalajara. He loved rubbing shoulders with so-and-so, with artists such-and-such, residents of X's workshop. Musicians and bon vivants of the international sphere. He made an art out of his life. Music, drugs and dance. They tell us that we must judge with violet glasses the work of generations of sexist artists who produced at the cost of oppressing their muses. That it is worth doing a DJ-set against the paradigm of Fine Arts because classical beauty was the twin of fascism. That in the face of the pain of others (remembering Sontag), we must process under the microscope any corpus of work that smacks of Zionism and, of course, cancel it. Salvador is a generous Anti-Artist. He attends with respect and humility the exhibitions of his Non-peers. He enjoys the success of others. There is not a single hint of meanness in him. Any of our municipal glories would like to have a little of Salvador's human greatness. Also, any Buddhist bald woman would like some of the serenity that Salvador and his bald woman have in the face of adversity. Since political correctness – the new face of double standards – has invaded social networks, universities and government institutions, especially those related to education, art and culture, a recurring topic has been established in the specific field of art: should we separate art from the artist? In the case of Salvador González the answer is no, not even if we wanted to. Salvador has made art out of his [according to him] bad life: out of his clothes, out of his complex relationship with his mother and stepfather, out of his abstinence, out of his unbridled sex and masturbation. Above all, his work has metastasized with his obsessive reflection on class relations. His paradoxical condition of subordinate and peer. His passion and hatred for the elites can only be explained in the light of a chaotic work like Salvador's.

– Paulo Gutiérrez