La abeja, el valle y la noche oscura del alma: JORGE ACERO LIASCHEVSKI

The four pieces that make up this exhibition are made from four previous works, past projects that serve as raw material to be reconfigured and accommodate new works of art, unprecedented forms that continue the artist's concerns in the present. This is the case with "A rose has no teeth," an animation in which drawings from several decades of drawing production come together.

Carrying one of his paintings on his shoulder, perhaps as an amulet or a guiding instrument, Jorge embarks on a modest pilgrimage from his home to the government building of Valle del Cauca, which is just a few blocks away. His goal is to request a meeting with the governor to read several of his writings, anaphoras that, due to their rhythm and repetition, resemble a prayer.

RED BONE / EARTH BONE / CHRIST BONE

POET BOOK / FISH BOOK / TOMORROW BOOK

The poetry, with a permutative structure, connects words openly and emphasizes reorganization as a form of creation, juxtaposing fragments to create discontinuous readings. Likewise, the series of 19 folio-sized paintings form a constellation with hundreds of compositional possibilities, each piece being a delicate exercise in minimalist drawing. The paintings are fragments obtained from two previous paintings, now cut and transformed into new pieces that, through disassembly, expand their plastic possibilities.

An edition of "La revolución radical en Antioquia" by Jorge Isaacs, written in 1880, is transformed into a multiple to be given to the public page by page, sealed and numbered by Acero after being cut into a rhomboid shape. The tribute to Isaacs, altering the physical form of the book and then dispersing it, seems to be a manifesto about the physical media that contain it.