IDENTIDADES 1 ENGLISH IDENTIDADES 5 ENGLISH | Page 144

Esterio Segura, 1993. Steel Charity. Polychromatic wood and gypsum
The artists themselves announced a
change in discursive strategy. If the way
into the institution beforehand was
through the front door, with aggressive
projects that embodied the crystal clear
will of art regarding its desire to fill the
silence and congestion with other forms
of consciousness, especially when facing a doubled effort on the part of the
institution to shield itself, all that remained now was the realm of metaphors: tropes, subterfuge, obliqueness,
dual codes, and ambiguous rhetoric.

the conviction only intelligent and wise
people can: prudence. For critics, however, they are a group of cynics.
Metaphors are a trope that allows one to
comment upon or approach interesting
topics from ambiguous or direct angles.
Met aphoric parallels create areas of
ambivalence, transvestism, carnivalization, all resources that allow one to
make inferences, break with the emphatic, and employ subtleties to aggrandize a diversity of perspectives in artistic communication.

Between 1993 and 1995, a new consensual space was sealed: it was a game
board on which one could play according to new realities: arts as metaphorical, imitative, ambivalent; institutions
were now pragmatic, but less arrogant
and pushy, and politer. The artists, given the genuine complexity of tropes,
metaphors, labyrinths, crossroads, reflected upon the erotic, philosophical,
experiential and historical universe with

From this point of departure, it then
would be difficult to distance itself from
the realities in which themes that deal
with a deterioration of the physical,
social and natural environment originate; marginalization, migration and the
role of its legitimacy internationally; the
everyday problems of the individual, a
constant challenge for artists and expressions that seek to a dialogic, open

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