In an effort to understand the nature of the human being, Emanuel Tovar (Guadalajara, Mexico, 1974) draws lines between the material dimension and the spiritual dimension. The repetition of a process to achieve its perfection, the energy and physical effort that the individual constantly invests in the work to produce or build something and the way in which this gear conditions or subdues us in an inertia that seems to limit us to the material terrain and dissociate us from the spiritual state.

Emptiness, infinity, repetition, transmutation, tragedy, exile, loneliness and death are concepts around which the exhibition Pequeño poema infinito revolves, a title taken from a poem by García Lorca. Overlapping different spaces, times and disciplines, it reflects on the construction of identity and the meaning of existence. In Tovar's memory, certain images and phrases seem to repeat and perpetuate themselves. From there he generates certain parallels with some of the ideas of three great referents: Federico García Lorca, Mathias Goeritz and José Clemente Orozco.

The exhibition runs along three intersecting lines. The first takes Lorca's life and work as a starting point. In a first approach, Tovar vaguely recalls his participation in street theater, where his teacher declaimed Lorca's verses that keep repeating themselves in his memory like the vibration of a guitar string. Thus, he projects a series of drawings where fragments of Lorca's poems are repeated and superimposed in a line that seems to exceed the limits of the paper, pulsating before the gaze and generating diffuse horizons.

Based on the homage paid to Lorca in 1935 by the Mexican composer Silvestre Revueltas, Tovar develops the work of the same name, Pequeño poema infinito, which consists of a performative action in a collaborative work with the Galician musician Samuel Diz, where tragedy, misfortune and misadventure are framed in a new composition to be performed on the guitar, the poet's favorite instrument. In a sequence of continuous repetition and generating an amalgam of tragic and melancholic sounds, which seem infinite, the action will be framed in the moment of greatest vulnerability, as a metaphor for the silencing of Lorca.