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María Conejo"Escorpiona" ink, zodiac, scorpion2024
2024
About the Item
Gonzalo García’s work explores the influence of Western culture and European painting on Mexican art, focusing on 17th- and 18th-century still lifes, Flemish Baroque bodegones, and more recently, 15th-century medieval painting. He reimagines symbolic elements, textiles, and furniture from these styles within his own queer perspective, creating pastel-toned works that contrast historical aesthetics with his personal experiences as a contemporary queer artist.
In recent years, García has developed a project examining the dialogue between 1970s Mexican cinema and contemporary painting. Drawing on films as cultural records, he uses them to reflect on memory and the societal concerns of their time. His series Cachorros intertwines two sources: Alfredo González Reynoso’s 2022 essay El Nuevo Orden que Algunos Soñaron and Jorge Fons’ 1973 film Los Cachorros. Reynoso critiques Michel Franco’s film Nuevo Orden (2020), highlighting how it imposes a “docile” role of martyrdom on the oppressed, reinforcing internalized whiteness and submission in colonized societies. Meanwhile, Fons’ film portrays an “ignoble savage” through a violent dog that disrupts and threatens human ideals of control.
García parallels the concepts of the noble and ignoble savage, reversing roles of oppressor and oppressed, prey and predator. His paintings incorporate references to medieval scenes of castration and circumcision, depicting intimate, tense moments where hunting dogs and dismembered limbs confront figures symbolizing power. Through this, García critiques societal expectations of obedience and submission, creating a provocative dialogue between past and present.
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