The line for the elevator is long, but I insist we wait: something about its olive green intrigues me. The number indicating the floor we’re on lights up seven times before revealing the gallery’s interior.

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Sublimation is a transient state of aqueous bodies, signifying the transition from a solid to a gas (or vice versa). It’s akin to when dry ice begins to evaporate upon contact with water. In some cases, for sublimation and gasification to occur, an intermediary (B) is needed between the body (A) and the environment (C). Since it is impossible for me to survive such extreme temperatures and explore what living in a sublimated state would be like, I look —enviously— at life forms that manage to expand effortlessly.

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In the often-cited Thesis IX On the Concept of History, Walter Benjamin mentions Paul Klee's painting Angelus Novus. This fragment constructs an allegory of progress: a winged angel looks toward the past while a storm propels it into the future, unable to stop. The movement leaves behind a singular catastrophe that reaches the heavens. This image has been used to interpret various cultural and political phenomena within the epistemic framework of modernity and the ideology of the new. That unstoppable angel can either reveal our unresolved doom or the possibility of critique, as in its backward gaze lies the urge to judge production, while simultaneously producing its own barbarity.

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Ana Hernández (Santo Domingo Tehuantepec, Oaxaca, 1991) inaugurated her first solo exhibition at the Campeche gallery on February 3rd.

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