Garden of Trust

“Garden of Trust” consists of several acts that, as in a play, compose the narrative until the finissage of the exhibition. The first act consists of a performative event in which Gluklya related in an individual way with heterogeneous groups of people dealing with the theme of care and contemporary resistance.

The connection between surrealism and activism is discussed in the garden within the Theatre of Trust, an installation that will remain throughout the period of the exhibition, an environment free of judgment in which to sit and discuss.

The second act is the representation and exhibition of the imagined and imaginary dialogue between the two artists. The visitor is welcomed by Kati Horna‘s photographic series “Oda a la Necrofilia” (1962), an emblematic work of the artist who has been living in Mexico for several years. In these compositions, there is a female figure (played by Leonora Carrington) hovers around a mask lying on a bed.
The images exude pain but also an eroticism: the solitary eroticism of a woman who adores the emptiness of the figure, who watches over it in a sort of ritual.

Flanking the black and white photographs, Gulklya‘s watercolors and installations from the “Corona Drawings” series, made during the pandemic, recall that sense of dark mystery and impending drama. If Horna responds to sadness with eroticism, Gluklya does so with an inexplicable sense of excitement.