Travesía Cuatro is pleased to announce the opening of Pintura Enojada [Angry Painting], a group exhibition curated by Gilberto González with the work of Lia D Castro, Manuel Solano, Simón Sepúlveda, Pérez y Requena, Ángel Cammen, Sofía Bassi, Aureliano Alvarado Faesler and Abraham González Pacheco.

With the locomotive everything went down the drain. William Turner (1775- 1851), fascinated by the steam and smoke of the engines, was confronted with an atmosphere that academy painting, as he had learned it, could not represent. This, together with photography, led painting into the difficult abyss of irrelevance. Where are we if we no longer represent? Well, in a strange place, where the gesture becomes determinant and is retained as a fossil action, a place at once sinister and comfortable, deceptive and certain. Turner passed from his wild sea to the evanescent atmospheres in such a way that the History of Art (there were surely many others) presents him to us as the premodern artist, that strange selection of men and loose names, who seem to press the button after which there is no turning back. After him, the impressionists, the post, the fauvists and the cubists, all of them children of a bourgeoisie from which they want to escape again and again to dynamite their comfortable images, their linear narration of time. Accompanying the poster of this exhibition is a fragment of a work by Luis Coto (1830-1851) La colegiata de Guadalupe, in which the Toluca born painter presents the amiable encounter between tradition and modernity, a locomotive arrives at the foot of the basilica almost without smoke, framed by a landscape that is more European than Mexican. A world supposedly in order, the world he was taught to paint. There is little smoke, only a plume that seems to say “no big deal”. But it was. Speed, the machine, changed time and representing it became, and still is today, an obsession.