Textos y artículos

We thought history responsible, until strange people began to write it: notes on Mariajosé Gallardo.

Marcos Fernández. Director de BlouinARTINFO en España, Colombia y México.

It mustn’t be a problem to abandon what happened in an old trunk, especially when its hides things, that take shelter from the dust, as good commuters of space and time, desastres as it might have been, they still want to contribute on the idea of what happened.


I remember a phrase, I think, might be the most interesting that you can extract from the many that a film might have -If not, this might have possibly been silent-, In which it is more or less affirmed: “No one is alarmed when things go according to plan, even if the plan is terrible”. A maxim kidnaped from a dialogue between the Joker and Harvey Dent  from Christopher Nolan’s  film “The dark knight”.

An aphorism of this caliber may offer us two possibilities: absolute resignation or to look the other way.


It would be something interesting to place some judgement on the multiple realities laid on the table by the data. to keep on weaving as to make everything fall into place and see, that as it is frequent in the art world, a minimum suspicion with some criteria is protagonist over the headlines: sadly not usually that common.


In a less quotidian way, there are worlds that reiterate the power to be able to create a marginal phenomenology of the mannered vestige that history has left us. If we have to quote another film, which name I have not been able to place together, it is a by chance that those that try to subtract an opinion, or to look for a different  palliative when it comes to brewing a different reflexion, they fall victims of chance and rightness.

“I thought it was an action movie and it turns out its about strange people” no doubt its a powerful title. especially when the mundane pretends to wield thou the profane and pseudo-popular. With the idea of abstracting other places that have surely been reserved for some doctoral thesis, not taking into account that vicissitudes can not be half measured – and much less dealing in absolutes-. Forgetting that degrees of exaltations do not exist when we review the pages of expired manuals, because incongruence has always served as legitimate way to give adequate importance.


I think that, because of that, we tend to distress when images and symbols of a still cutting past emerge in the present, with notable speculative interest, with tons of books -in this case some that did not burn on the fires- claiming to be a prodigy of reason in a manner that, with Mariajosé Gallardos filter, are without a doubt a new trench of trajectories, that invite to look with other imagery, like the well quoted John Berger.


When minutia hit the limelight of what happened after 1933 in Germany, It seems that no one would like to look thru the hole of the parallel views. It is clear that they all think in the holocaust, perturbation, imperialism, massacrer, destruction and many epithets far from espiritual.

The nazi movement, in that aspect, opened an unjustified and complicated wound that began by jumping the frontiers of a europe in the makings, urgently positioning its sights on Poland and Austria. The fact that it falls under a belic board game nature, makes it if it were possible more sickening, pretending to show us an idea of the most ambiguous, repressive and unwavering utilitarian creed.


The nazi ideology assumed many more things that emerged subsequently: disarticulating a country to dismember it -you only have to analyse the consequences of the non aggression pact signed between Hitler and Stalin, for the doling out of Poland-, the silent aniquilación, the development of technology and the opening of doors that surrounded by a certain profane nostalgia and mysticism are obsessively articulated, exercising a megalomania that seems illusory, mystical, in the representations as a portrait of power.

Mariajosé Gallardo has always found stimuli in emblems and the narrowing barroc shutter, the ornamental, the psicoanálisis of the torture -when a sycophant has been placed in manifest abstracted from from other analytical context-, the ridicule of imagery, the frivolous popular culture and holistic, broth unknown everyday qualities, to some extent, of perversion.


Placing around the board game a madman’s family circle, can be descriptive, narrative and dismal. To make a collection of the extract so that the wicked may have another condition, can also be wrapped in certain provocation.

That is not the direction as their has never been a vocational torridity or intention of tampering with the events, simply to give a reason to stop the collapse of  memory, with its derived hypertrophy.


The actor are themselves: Adolf Hitler, in the role of the nacionalis ecstatic superstar -as we could observe in the series of photographs that, Heinrich Hoffmann toke with some pose between histrionic and the absolute ridicule, as he was listening to Wagner and were apparently destroyed in the year 1925- ; women and lovers like malevolent and fanatically hanged-up, Albert Speer -that designed between Goebbels, Hermann Göring, Rudolf Hess, Eva Braun, René Müller or her niece Geli Raubal.

If we add Longinus’s lance, the search for the holy grail and listed place of notable energetic charge and dominated by tradition, emblems and myth to bind all possible creads, resulting in a disastrous closet filled with outrage and a will to be a cultural, economic and significant reference and tremendously transcendent.


The annulment of consciousness, the historic mysticism, the modifying of picture cards and engravings, the ludic and festive character of that the family reunions in his residence in Berghof, are some of the things that make up the artis imagery. This emplacement was a place of retreat and second governmental home for Adolf Hitler in Obersalzberg, in the Bavarian Alps -bombarded by the british air force in 1944, burnt by the SS and plundered by the allied, as it usually happens, after the passing of the war machine.


The second world war contributed to the emergence of two superpowers that lookeded to share out the world: USA and URSS. The alliance of nations was made responsible for starting the war and was replaced by UN, following the letter by the United Nations, signed in San Francisco on the 26th of June 1945 whilst, the religious european gerarchi were astonished, by how the Vatican acted as devils advocate not condemning the barbarity, in fact, the pontiff of the time Pio XII, was interested on been on the aryan side as jews and the communist, did not fall within the catholic creed: adding to the mockery, another irreverence, something unique that history will never be able to embellish regardless of all the smiles that are forged for the camera.


In the Núremberg and Tokyo Trials, part of the nazi hierarchy and of the nippon Tenno, were judged and condemned for crimes against humanity -Unprecedented in histories disagreements, as never before had all heads of a nation been judged for any similar reasons-. The technical and scientific investigation, in its totality, where benefited with great impulse, in particular the sponsor investigation and its evasive veracity, brain drain and the dominance of the atom after the Manhattan project -matters that contributed, as well, to the creation of the helicopter, reaction engined planes and the creation of the ICBM: the development of continental ballistic missiles that became key cards a posteriori of the Cold War.


That labyrinth of a game, in a representative manner Mariajosé Gallardo, wives in mastery, as it is unusual, imagery, composition, the oratory of daydream and the symbolic ideals. So many possibilities that the artists pictorial skills, are camouflaged by other documentary rhetoric.


We are accustomed to a iconological charge by the artist from Extremadura, its a conclusive opposition to the values that are brewed under a rigorous lexica, that piles on the bases of her capabilities, not only by skill, thats represented by a stylised historical pictorial tradition and brutal methodical indulgence: esoteric elements, icons, symbols and motives, they converge in a defence so determining as satiric.


We know that to exercise a line of enquiry into such matter tends toward controversy, when the intention is to elongate the shadow of disaster, so that we may take into account all the questions that we dare not ask, and it’s there, were “Creí que era una peli de acción y resulta que es de gente rara” ( “I thought it was an action movie. It turns out it of strange people”) has an aesthetic character, almost of caricature.

This is why we have history books, logically, the artistic approach of the historical authorities, presents as was said, the exotic detached nature of the human condition.