That disbelief which drove Thomas1 to doubt his master is the very verb that Íván Castiblanco activates today through his work. Using everyday objects dating from the early twentieth century, he gives material form to the bodily memories of childhood, building 6 assemblages in which drawing and sculpture converge.
Thomas refuses to believe…
That disbelief which drove Thomas1 to doubt his master is the very verb that Íván Castiblanco activates today through his work. Using everyday objects dating from the early twentieth century, he gives material form to the bodily memories of childhood, building 6 assemblages in which drawing and sculpture converge.
With this exhibition of his most recent work, Íván questions the gestures, words, and acts learned by rote, staging historical events of the Catholic faith through a symbolic excavation that seeks to build new narratives.
As Luciana Stegagno says in a comment on the novel The Gospel According to Jesus Christ by José Saramago, “Here the divine is not denied, nor the religiosity latent in every man’s heart: what is done is to question it, to interrogate it, to accuse it”2.
What this exhibition intends is for us, as audiences, to send our minds back to that age of childhood when at every moment we ask why?, and so to interrogate our acts of faith (if we have any), whether to reaffirm them or to cast them aside.
Let us doubt impositions, or whatever we choose to believe, often without argument; let us dig into what we perceive as real in our daily lives; let us question the sources of information with which we build our knowledge, which we often follow through imitation, since that is our natural way of learning.
Tatiana Quevedo
Education Coordinator
1 He was one of Jesus's apostles.
2 Excerpt from Luciana Stegagno Picchio, a comment on the novel The Gospel According to Jesus Christ written by José Saramago. 1999. Madrid: Alfaguara.