Humberto Díaz, Stockholm syndrome
TAP TO ZOOM
2020 | Installation, wood, metal, paint, variable dimensions
3D modeling made by Rodolfo M. Delgado
Humberto Díaz builds a fence that borders the Gallery, but with two of its sides open allowing communication from the inside to the outside. With this same perspective, the artist intervenes in the Gallery column, creating grooves, frictions that reveal the old column, and its structure. In this way, it creates different levels of reading about the same phenomenon. Therefore, in this exhibition space is fundamental, since the creator constantly plays with its limits, subverts them and intervenes them in order to generate meaning. Stockholm Syndrome is an exhibition that tries to generate surprise in the viewer, at the same time that it becomes a metaphor for the current situation where we live as prisoners in a globalized world, ruled by technology and the mass media and where great events change the course of history and the actions of societies. Taken on a smaller scale, life is full of small actions or unexpected events that have a significant impact on our future project.
Likewise, the artist approaches the idea of the human being's ability to create and at the same time destroy borders and walls. The term wall comes from the Latin murus which means exterior wall and refers to a construction that allows dividing or delimiting a space. The history of humanity has been marked by the construction of walls that have been a symbol of division, both political, religious and social. Among the walls that have been marked in history are: the Wailing Wall, the only current evidence of the historic Temple of Jerusalem, a place considered sacred by the Jewish people; or the Great Wall of China, the most famous border fortification of antiquity, which was projected as a brake on the incursions of the northern Mongol tribes and with the purpose of marking the development of Chinese civilization with respect to the external peoples that considered in a state of barbarism. Today there are other divisions that fracture the territories in order to mark the borders and prevent the passage of immigration. Such is the case of the nearly 500 kilometer extension that divides Botswana from Zimbabwe; the similar wall that South Africa built on its border with Mozambique and Swaziland; or the fences that separate the territory of the United States and Mexico to prevent the passage of immigrants from the rest of the American continent.
But all these walls, in the short or long term, were not an impossible challenge for those who were left out. No wall was eternal and the oldest walls are today pieces of exclusive archaeological value. Genghis Kan and the Manchus seized everything they found behind the Great Wall of China. Every day African, Latino, Palestinian, Bengali or Syrian immigrants cross seas and deserts to circumvent fences, patrols and anything that stands in the way of their destiny.
Although this work is a clear allusion to the history of humanity marked by the construction of divisions between nations, they are also anchored to the Cuban context. A wall that is perhaps a suggestion of our insular condition, which represents a natural border for our link with the world; or the economic and financial blockade that Cuba suffers from, a well-known issue that floods the streets and television spaces; and even the blockade of a society that has not just opened up to the world and that constantly struggles to find ways of survival. A polysemic work that allows the artist to pose several questions, a call for attention to the reality of a world in need of unity that constantly seeks to divide. The concrete walls or bars can finally be just a symbolic resource to mark, once again, the limits of a society that feels at risk, while people and goods sneak in other places where the walls will never be powerful enough to stop the story.